The Rocky and Bullwinkle Show

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R.I.P. June Foray, voice of Rocky the Flying Squirrel…and many others

Vanity Fair reports: June Foray, a formidable talent who famously voiced the role of Rocky the Flying Squirrel in the children’s classic The Rocky and Bullwinkle Show, among countless other beloved cartoons, has died. She was 99 years old.

Foray was a living legend in the animation community, voicing countless roles in classic Looney Tunes cartoons, Hanna-Barbera cartoons, the Rocky and Bullwinkle spin-off Boris and Natasha, and the TV special Dr. Seuss’ How the Grinch Stole Christmas, where she played the part of Cindy Lou Who. She also lent her talent to the big screen, voicing roles in Disney’s Mulan (Grandmother Fa) and Cinderella (Lucifer the cat), Space Jam (Witch Hazel, Granny), and Who Framed Roger Rabbit (Wheezy, Lazy Hyena).

But it was her work as Rocky that brought Foray the most acclaim. She played the famously scrappy squirrel who teams up with his best friend, the slow-talking Bullwinkle J. Moose, to stop wicked Cold War-era villains Boris and Natasha. The original show lasted for five seasons, airing from 1959 to 1964. In the TV movie spin-off, she also voiced the role of Natasha.

Art by Barry Johnson

Voice actress June Foray passed away at the age of 99. She did a variety of Voice work for Disney, Warner Brothers, and several other companies. She’s best known for her work as Rocky the squirrel and Natasha Fatale on the Rocky and Bullwinkle show. Foray was the one who initially came up with the idea for the Annie Awards to honor those working in the animation industry. She also push the Academy Awards to include an animated section. Foray won her first Emmy in 2012 for her performance as Mrs Cauldron on Cartoon Network’s The Garfield Show. In addition to her work on animated films she previously worked on radio and was the voice of talky Tina in the Twilight Zone episode about an evil doll. In 2013 a documentary about her life was made and titled the one and only June Foray.

Characters she voiced pictured here are clockwise from the top; Rocky the squirrel, Witch Hazel, Talky Tina, Cindy Lou Who, Betty Rubble, Natasha Fatale, Jokey Smurf, DuckTales villain Magica De Spell, Karen from Frosty the Snowman, and Miss Prissy from Looney Toons. #ripjuneforay #juneforay #cartoons #voiceactor

So, let’s talk about Boris and Natasha. We get the following exchange in 10.17:

Dean: Been waiting on you.
Crowley: Squirrel.
Dean: [nodding] Boris. Or is it Natasha?
Crowley: Would it make a difference?
Dean: Not really.

There are a few things going on, here.

One of them is (another) confirmation of Dean’s bisexuality. Boy, girl, makes no never mind to him. Dabb has been rolling with bisexual Dean for six years, so there’s nothing new there.

But this is also about the particular way Dean and Crowley connect. Castiel was given a pop culture hack in Meta Fiction, but before that he did not get references. And Dean communicates mainly in obscure pop culture references. Dean is nigh impossible for a person of his actual frame of reference to understand at the best of days, because he’s extremely self-referential. Getting his references requires that you’ve lived his life and experienced his experiences, basically. Most people don’t speak Dean.

And this scene beautifully demonstrates how Crowley not only speaks Dean, but how their languages are similar. Crowley also speaks in obscure pop culture references (and innuendo, to boot). Crowley, unlike Dean, doesn’t care whether people get his references, they’re to amuse himself. But Dean does get his references, and he gets Dean’s references. There’s a beautiful progression in how Crowley’s regard for Dean Winchester has changed, and grown, and how he’s come to respect the man and the keen intelligence that he keeps under wraps. It’s easy to mistake Dean Winchester for a blunt instrument, but Crowley has learned to see past it, and he’s learned to see it well.

He has called Sam and Dean “Moose and Squirrel” for years, a reference to the Rocky and Bullwinkle show. Rocky is actually the brains of the operation (“Listen to Moose, Squirrel”). He displayed a begrudging respect for Dean by giving the moniker. Dean got that.

So Dean is asking Crowley whether he sees himself more as Natasha or Boris, in this situation.

It would have been easy for Dean to just call him Boris, since he’s short and and dresses in black, outwardly would he make a pretty good match. But Dean was willing to entertain him as hot Natasha, too. Makes no never mind, to him.

But the important thing is that by acknowledging that he gets Crowley’s reference, he’s unequivocally connecting with the man. It’s an acknowledgement of shared past, of shared history. It’s nostalgic. It’s familiar. It’s comfortable.

But by admitting that it makes no never mind to him, Dean is also saying that he finds Crowley both morally repugnant and sexually attractive at the same time. That’s what happened there, in case you missed it.

Awww, I just read June Foray died. Even if you don’t know the name, you probably know her voice.

Granny and Witch Hazel in Looney Tunes cartoons.

Cindy Lou Who (no more than 2) in How the Grinch Stole Christmas. 

Rocky and Natasha in the Rocky and Bullwinkle show..

The grandmother in Mulan.

Magica de Spell in DuckTales.

Karen in Frosty the Snowman

Talky Tina in that Twilight Zone episode with the step father killing doll. 

Actually, I can’t even begin to list her credits! That’s just off the top of my head (and I hope they are correct) but her voice popped up all over the darn place. 

She was apparently 99 and was still working just a few years ago (I think). Strange to think of the world of animation without her voice popping up in the future…

My thought are with her family and friends. 

Little Do You Know

Characters – Crowley x Reader, Dean, Sam

Summary – The reader is at the end of her rope with Crowley’s poor treatment of her, but maybe there’s a reason behind it she hasn’t considered.

Word Count – 2,975

Warnings – None

A/N – I had a request from my dear @trinityjadec for a Crowley x Reader.  I hope you like it Trinity!  Request: Where Crowley meets y/n and is a jerk and stuff but only bc he’s actually very infatuated with her and thinks she deserves better. Little does he know that she’s infatuated with him too and the way he treats her hurts her and then fluff at the end?? I don’t really know I just love him😹

This was also written for @loveitsallineed’s Playlist Challenge.  My song was Little Do You Know by Alex and Sierra…it seemed to merge so perfectly with the request!  And bonus points for those of you who catch the Doctor Who reference that happened accidentally, and that I didn’t have the heart to take out!  

Originally posted by just-purely-insane

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“You should excuse us, Peabody.  Let the big boys handle this.  Why don’t you go fix us some dinner?”

“Why did you bring her Dean?   She’ll just get in the way.”

“Should’ve stayed home, Peabody.  Now you’re going to get someone hurt trying to protect you.”

“Can’t you stay out of the way, Peabody?  Why must you always toddle after the Winchesters?”

You were in your bedroom, curled up under the covers, with every mean thing Crowley had ever said to you running through your head.  When you first met the King of Hell, he was kind to you.  He liked the Winchesters and they liked you, so he liked you. Every meeting was ‘Hello, love’ or ‘Goodbye, darling.”  He even kissed your hand a few times, making you blush and feel hundreds of butterflies fluttering in your stomach.

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pineapplebank  asked:

How bad is Filmation back in the 80's? Like I used to remember hear cartoonist like John K, Sam Simon, Paul Dini and Eddie Fitzgerald said that Filmation is the worst animation studio of all time. Like I know the shows bad but why?

TL;DR version: everything about FILMATION was CHEAP

  • animation
  • storytelling
  • editing
  • production

It was so cheap it took over and forced everybody else down for a very, very long time.


Let me back up a sec, growing up I didn’t have a lot of cartoons, what I got was either old crap from the 60s/70s or 80s toy cartoons. Now don’t get me wrong, I have a lot of affection for old crap because it was my childhood, watching G.I. Joe, Transformers, He-Man, SuperFriends and Scooby Doo is built into my being, I have a soft spot for the fucking WONDER TWINS so like, I get that a lot of people outright love these old shows. But time marched on and good cartoons were just on the horizon and they changed our perception of what cartoons could be on TV forever…

Originally posted by nothingislinear

That’s not to say my childhood wasn’t devoid of good cartoons; Yogi Bear, Rocky & Bullwinkle, The Flintstones and Jetsons all 1960s vintage, but otherwise there was just so much crap SO MUCH CRAP being pumped out to fill Saturday morning advertising spots and I just can’t forgive abhorrent turds like Gilligan’s Planet, not now, not ever

So what made FILMATION suck? It was CHEAP with a capital ¢

Limited animation, boring interchangeable stories, lazy, lazy editing. Even as a kid you knew you were watching 2nd rate crapola but it was either that or the Farm Report so you watched it anyway (any port in a storm right?) You can always tell a FILMATION cartoon because not only is the animation limited BUT that animation going to be shown again and again and again and again (and again). Sometimes even in reverse. Star Trek was at least blessed with some decent writing to distract you from the crumby everything-else (thank you DC Fontana) but it was virtually a slide show. When a show has less animation per episode than Rocket Robin Hood or Spider-Man ‘67 my face kind of scrunches up in amazement that we ate it up like we did (but then again there weren’t as many controls regarding sugar to food value ratios in breakfast cereals back in those days, so maybe my sugar fits added frames of animation where there were none)

Originally posted by welele

Most shows only assembled mouth animation for each episode and if you were lucky the eyes, otherwise everything else was recycled. All the shows were written first and then animated after with these interchangeable factory parts. Even Synchro Vox stuff like Space Angel and Clutch Cargo had new art from time to time but with Fat Albert you saw one episode you saw them all blah-blah-blah all talk, no moving around. You might as well dust off your storybook 45″ and listen to that, at least there’d be voice acting in those

Originally posted by napsmear

What sometimes confused me though was after they escaped the 70s they got ambitious in the 80s with stuff like He-Man and She-Ra (and maybe BraveStarr much later as they fought to survive actual cartoons) the problem with it was you’ve got some realistic bodies to animate with complex shapes and a company that is notorious for moving characters the least amount possible; the result was twitchy and weird and recycled beyond belief. SIDE NOTE: I challenge anybody not on the 80s nostalgia wagon to marathon She-Ra episodes and not fall asleep, watch 10 episodes in a row and then tell me what each one was about. People take it for granted these days that even with serial cartoons like Steven Universe each episode gives you something, whether its story or some new character detail or just something really fun happenin’ (Star vs The Forces of Evil) cartoons of yore were made like sausage links on an assembly line. If I wasn’t a horny little kid there’d be no reason AT ALL to watch garbage like The Archies or She-Ra

Anyway, sometimes you can’t see how big a circus is until you escape it and look back at the size of the tent. In the late 80s something started happening to cartoons, they were getting better, more interesting, more … animated. There are a lot of theories as to why this was. Some people claimed ownership over the movement that happened, I just think it was the zeitgeist at the time, Disney wasn’t the king of animation anymore and that meant there was a gap to fill and more stuff going on at the theatre where REAL money was being made with things like Heavy Metal and The Secret of NiMH, home grown animators were giving a shit about what they made. Then on TV when old timey cartoons with more than 24 frames of animation per second were shown to us by the geniuses at Pee Wee’s Playhouse we got woke real quick, most people hadn’t seen that stuff in decades. And then surprise! Roughly the same time that was happening The New Adventures of Mighty Mouse came about, and man, what a cartoon! That was the first cartoon I remember my parents watching with us kids. It was funny and interesting and WEIRD. It was also animated differently from other shows. It wasn’t as janky as He-Man and yet it wasn’t as somehow as slick-yet-boring as 80s Hanna-Barbara, it was fluid and interesting and weird and funny….

…and then it got yanked off the air because the 80s was a strange, strange time and place BUT the fire was lit and so many other more zany cartoons came out shortly after, Tiny Toons is pretty dated now but back then it was like WHAT! they can do that on TELEVISION? It was animated fairly well and it was funny and it wasn’t that episode of The Flintsones or Looney Tunes you’d seen for the billionth time it was fresh and interesting.

Disney started making a comeback as well what with Family Channel; new original works like Gummi Bears and DuckTales was a big departure from other stuff that was on TV at the time, it was fresh and interesting. Game changers!

Originally posted by ducktales88

At the box office we had stuff like Who Framed Roger Rabbit breathing life back into so many cartoons at once, what happened through the 80s really sparked what would lead to the animation explosion of the 90s


For me looking back at the first half of the 80s (and most of the 70s) you could clearly see how cheap and uninspired the cartoons from that era really were, and then later as an adult learning about other TV cartoons that struggled to pit entertainment vs cost was equally eye opening. The problem with TV animation has always been the expense, TV has always been the “cheap” medium. When it started they used to show old crappy cowboy serials because that was the cheapest stuff they could show to fill airtime. Early cartoons tried very hard to be economical AND funny (Tom Terrific, Rocky & Bullwinkle!) a lot of these shows benefited from a simplistic style and a bunch of animators who’d been plying their craft for years. When they started retiring in the later 60s you could see the impact it had on everything. To my mind Hanna-Barbara was the only shop that was still producing decent cartoons through the mid-60s to the mid-70s, and even then Scooby Do was cearly made in haste to combat newcomers like FILMATION but luckily for HB it caught on in a major way. But by then it was like there was a race to the bottom. Who could make the cheapest crap to get away with and then land syndication rights YIKES (I’m sure somewhere Scooby-Doo, Where are you! is still playing right now)

Originally posted by witchywoman22


Now I’ve seen cartoon trends wax and wane between creator-driven and merch-driven, cheap as dirt / actual care and attention over the last 30+ years, to me its cyclical. We have been blessed with a lot of great shows for a few years which means we’re in for a bust cycle of cash-in dreck, I feel that this time around its main cause is television as a format is shrinking and producers are scared to death that their ad revenue isn’t as fat as it was over the last 30 odd years so they’re rapidly trying to make bank on easy-to-sell crap (remakes, toy tie-ins, all the stuff that make cartoons BAD).

Who knows maybe direct to web / streaming services are the next step for quality cartoons and help us avoid another dank age of animation, but for now I feel that we’re already seeing cheap, rushed out the door stuff seep in between our good cartoons.

Originally posted by jwblogofrandomness

Time will tell… time will tell…