He couldn't in fact he sold it to buy some satellites in Germany, that's why fox decided to sell everything, as saban called out and Fox loss interest. And Jetix was a disney brand, something already TM and Copywritted by disney europe
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Well in 2010 IOTL he got back in the media business with Saban Brands, buying Power Rangers and a bunch of 4Kids’ library. Maybe Saban could become a stakeholder in this new operation.
That could work.....or he could BUY it OUTRIGHT....
Also, what happens with SIP Animation and Marvel? Could Jetix buy Marvel? Or would Marvel remain indie ITTL?
I'll put up my timeline, Let Megatech Satisfy Your Primal Desires (REDUX), for posterity in the thread. It's open to anyone who wants to read it. It's a story focusing on the premise of "What if Megatech Software survived beyond 1995?".
Another LT-based idea: What if Horton Hatches the Egg resulted in more Dr. Suess-adapted Looney Tunes and Merrie Melodies shorts, eventually becoming a near-yearly thing? Mainly inspired by the later specials by Chuck Jones and DePatie-Freleng, but also inspired by other adaptations like George Pal's Puppetoons, the Wubbulous World of Dr. Seuss, Seussical, and even UPA, as well as some of my own.
- The 500 Hats of Bartholomew Cubbins (1943) - Directed by Bob Clampett
- And to Think That I Saw It on Mulberry Street (1944) - Directed by Bob Clampett
- The King's Stilts (1945) - Directed by Bob Clampett
- McElliot's Pool (1948) - Directed by Art Davis
- Thidwick the Big-Hearted Moose (1949) - Directed by Robert McKimson
- Gerald McBoing Boing (1950) - Directed by Chuck Jones
- Barholomew and the Oobleck (1951) - Directed by Robert McKimson
- Gerald McBoing Boing's Symphony (1953) - Directed by Chuck Jones
- How Now Boing Boing (1954) - Directed by Chuck Jones
- Horton Hears a Who (1955) - Directed by Chuck Jones
- Gerald McBoing Boing on Planet Moo (1956) - Directed by Chuck Jones
- If I Ran the Circus (1957) - Directed by Robert McKimson
- The Cat in the Hat (1958) - Directed by Friz Freleng
- How the Grinch Stole Christmas (1959) - Directed by Chuck Jones
- Yertle the Turtle (1960) - Directed by Robert McKimson
- Gertrude McFuzz (1961) - Directed by Chuck Jones
- Green Eggs and Ham (1962) - Directed by Friz Freleng
- The Sneetches (1963) - Directed by Friz Freleng
- The Zax (1964) - Directed by Robert McKimson
- The Cat in the Hat Comes Back (1965) - Directed by Friz Freleng
- Halloween is Grinch Night (1966) - Directed by Robert McKimson
- Fox in Socks (1968, Cartoon Special) - Directed by Alex Lovy
- I Had Trouble Getting to Solla Sollew (1969, Cartoon Special) - Directed by Robert McKimson
I'll admit this surprised me when I first saw this. I'd argue the only downsides would come from the late 60s, unless this tradition convinces the head brass to give WB more animation budgets in that decade.
However, in the event of cable television, or just television in general, that's at least eight hours of Dr. Seuss adaptations with commercials added, meaning we've got the easiest marathon on our hands.
In any case, I can assure you that Solla Sollew would be quite abstract, like The Dot and the Line or Norman Normal. I think Fox in Socks might be that rare case of the book being better here, though.
actually just four hours, or eight HALF hours. 24 shorts divided by 3 shorts per half hour time slot is eight half hours, or four hours. And when you take into account the Turner/TW split, Warner’s half (the bigger half, and the one with all the famous stories) would only include around 19 or 20 shorts, or just around 3 hours. Still a somewhat substantial marathon, especially for kids, and I could see Nick marathoning those shorts leading up to the premiere of Wubbullous World.
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Okay, that was a brain fart on my end. However, since WB's half contains hits like Gerald McBoing Boing, Cat in the Hat, Grinch, Horton Hears A Who, Yertle the Turtle, Green Eggs and Ham, and The Sneetches, among others in 80% of the catalog, I wonder if any feature film adaptations are made at WB Feature Animation.
Star Wars is made not as science fantasy but rather as a realistic fantasy, a story set in an alternate medieval world without magic. All the actions take place on one planet. The different planets are now different countries or regions. The Force doesn't exist, is only a religion, or is far more scientifically explained.
Yet another Looney Tunes idea, this time more dire. I've been thinking on how the copyrights to characters expire when their initial work enters the public domain, so I figured: What if, when WB sold off the pre-1948 cartoon shorts (primarily the color ones, plus the Harman-Ising black and white Merrie Melodies aside from Lady Play Your Mandolin) to AAP in 1956, the copyrights to the characters were included alongside the copyrights to the shorts?
- First, and most obviously, WB can't use the now-AAP-owned characters in their shorts anymore. Of the then-main cast, the only characters available for WB to use were:
- Daffy Duck - introduced in a black and white short currently licensed by Guild Films, but still copyrighted to Warner Bros. This saw Daffy actually regain his old trickster screwball nature, as he took Bugs' place in many a
- The Road Runner and Wile E. Coyote, introduced in a post-1948 short
- A handful of secondary characters were promoted to main characters in order to compensate, mainly those previously major AAP-owned characters, such as:
- The now single Petunia Pig, who had been introduced in a black and white short, but her boyfriend Porky debuted in a color short owned by AAP. She took Porky's place as Daffy's sidekick, resulting in many cartoons being surprisingly feminist for the day in showing a female character be both doing the same job as a male character and being far more competent at it- if only because the scripts of these cartoons had practically crossed out Porky's name and included Petunia's instead.
- Granny, but not Sylvester or Tweety. While not having many solo roles, she was a common enough side character in the shorts of many to be considered
- A rechristened Sylvester Junior now known simply as "Junior"- his pop debuted in an AAP short. Junior became more antagonistic and less intelligent in order to fill the void left by his old man.
- Penelope Pussycat - thankfully free from Pepe, though now she would be chased around by other various suitors. Luckily, she became much more independent and often fought back against her various pursuers, either physically a la the wildcat in "Wild Over You" or traditional slapstick trickster means. She was given a voice with her promotion, alongside Pepe's vanity and one-liners ("You know, it is possible to be too attractive!")
- Incredibly recent Oscar-winner Speedy Gonzales, who had gone up against Sylvester in his first official appearance but would now face up against other characters. This would include George and Benny (who Speedy's prototypical form had squared off with), Penelope Pussycat, and most notably Junior, continuing the family business.
- Characters that had increased focus, but remained secondary included George and Benny, recently debuted Marc Antony and Pussyfoot (following the success of Feed the Kitty), Playboy Penguin (for the cute factor left behind with the loss of Tweety), and the shocking return of Gabby Goat (sharing Daffy's jerk anti-hero role, especially in shorts meant for both Bugs and Daffy).
- Meanwhile, regular villains now included Nasty Canasta, Pete Puma, Witch Hazel, gangster Mugsy (made more villainous to make up for the absense of partner Rocky) and the Tasmanian Devil (at the request of Jack Warner and tons of adoring fans, and the dismay of Eddie Selzer), alongside the "super genius" incarnation of Wile E. Coyote.
- New characters would also be introduced in order to fill the void, such as the Honeymousers, Blacque Jacque Shellacque, and Slowpoke Rodriguez.
- Meanwhile, AAP got the rights to the following major characters:
- Bugs Bunny
- Porky Pig
- Elmer Fudd
- Pepe Le Pew
- Tweety
- Sylvester
- Yosemite Sam
- Sniffles, who for some reason was extremely popular on merchandise around this time.
- Hippety Hopper
- Foghorn Leghorn
- AAP, and later United Artists, at first mainly used them on merchandise, syndication, and rereleases. It was later admitted that the studio brass didn't really know what to do with these characters.
- When Chuck Jones was fired from WB after Gay Purr-ee and went to Sib Tower 12, instead of going to MGM for Tom and Jerry (or maybe alongside it), he immediately signed a deal with United Artists to make new cartoons featuring these ex-Looney Tunes. Instead of an anthology series, Bugs Bunny, Pepe Le Pew, and Sylvester and Tweety were given their own starring series, followed shortly by Porky Pig and Foghorn Leghorn.
- After the success of the title sequence for The Pink Panther, DFE was contacted not just to make Pink Panther shorts, but also to co-produce the other UA cartoons alongside Jones. As a result, DFE totally took over Sylvester and Tweety and Foghorn Leghorn, as well as the character of Yosemite Sam. Pepe Le Pew became Chuck Jones exclusive, while Bugs and Porky were shared between the two companies. These series lasted until 1978 in theaters, followed by TV-made installments until 1980- similar to the Pink Panther.
- Meanwhile, WB Cartoons still closes in 1964, then hires DFE for outsourcing- still with low budgets, executive meddling, and mandates for oddball character combinations, though not limiting the exact characters that can be used outside of more obscure characters (not like they had a choice- the Speedy/Daffy/Road Runner trio that DFE was allowed to use IOTL were the biggest draws the studio had at the time). This, combined with the primarily WB crew on the WB lot, made DFE basically just the old studio with a new name and independence. The in-house studio still gets revived in 1967, the new stars of Cool Cat and Merlin still happen (though Road Runner and Daffy are not retired), and it's closed again in 1969.
- MGM gets the rights to the characters with their merger with UA in 1962, and Turner gets the rights in 1986. Bugs Bunny becomes Turner's mascot for a while, with a one-season cartoon in 1990 (produced by Chuck Jones Enterprises) and taking Droopy's role at introducing the Cartoon Network in 1995. After Turner buys Hanna-Barbera, they produce another unrelated Bugs Bunny cartoon in 1993 that lasts for two seasons (with Sylvester and Tweety as a backup segment and Porky as a side character), as well as a few direct to video movies, while Pepe Le Pew and Porky get What a Cartoon shorts in 1995.
- Meanwhile, Tiny Toons has not Buster and Babs as the stars, but Hamton and Shirley (the latter taking Plucky's place as the Daffy analogue, and given a more hyperactive personality).
- In 1996, following the WB-Turner merger, WB finally gets the rights to their former biggest star back, and Bugs Bunny and his friends are reinducted into the Looney Tunes. The last Looney Tunes thing to not feature Bugs and his crew is Space Jam, with a girl power push behind Petunia and Penelope replacing Lola's introduction.
Would Warner Bros still have access to shorts that feature the copyrighted characters between 1948-1956 like The Hunting Trilogy or Duck Amuck?
Possibly, seeing as how ITTL AAP had the rights to the old LT shorts while WB still had the rights to the characters. Nethertheless, they probably either wouldn't show them that much or show them all the time to coast off the rabbit's fame
Given the popularity of the characters owned by United Artists, wouldn't UA make shorts of them before the 1960s? Say Bob Clampett or Tex Avery takes another shot at them since United Artists aren't that big in the grand scheme of the Hollywood system? Or perhaps Art Davis who was one of the main directors from 1945 until 1948, no?
Maybe, but UA wasn't in touch with an animation studio at the time.
That IS more dire!
Screwball Daffy and Wile E. Coyote would be the only ones not owned by AAP around that time. Good Lord.
Yeah, that sounds about right.
To be considered what? A star in all but name?
Oh, that's a shame.
This is one change that I think fans wouldn't mind making permanent after the 90s.
At least Speedy has other options, unlike IOTL where he's mainly Sylvester's prey.
So, the 50s era of Looney Tunes would be headlined by Daffy Duck, Wile E. and Road Runner, Petunia Pig, Granny, "Junior", Penelope Pussycat, Speedy Gonzales, Marc Antony and Pussyfoot, Playboy Penguin, and Gabby Goat. That's rough.
At least we keep Taz, Witch Hazel, and Wile E. Coyote's civilized persona. Something tells me the coyote would be allowed to move beyond the desert, or more likely forced to by Jack or Eddie.
We're gonna get more Honeynousers shorts with this one.
I literally facepalmed while reading this list. If this was the timeline we lived in, I dread the animation community around this time.
Then why buy these characters? For the merchandise? Oh, who am I kidding, with Bugs, Porky, Tweety, Foghorn, and Sniffles, that's exactly why.
Okay, small miracles for these characters.
At least we get Bugs Bunny shorts for most of the 70s, and getting a second or third marquee character wouldn't hurt DFE.
I mean, it's also not like WB wouldn't have made oddball combinations in the 50s.
And with Bugs Bunny on the lot again!
Yeesh.
I can't imagine Bugs not being Turner's mascot in this case. Hopefully, mentioning 1995 is a typo for Cartoon Network. Although I do wonder if this means the rest of the DFE catalog is owned by MGM or Turner. Which one owns the fuschia feline? No, the other one.
Story checks out.
Does this mean the show doesn't even try to get a spin off out of its characters, with the Plucky/Shirley and Hamton shorts being the main focus?
I would have cried a little if I saw that in the news.
Five hundred bucks says they make up for 50 years of lost time almost immediately.
Another timeline idea, because I keep coming up with these: What if Jetix became independent?
Inspired by these twitter threads.
Basically, in late 2007 (and finalized in early 2008), Jetix Europe and Jetix Latin America would become independent from Disney, merging into an entity called Jetix Worldwide, taking SIP Animation and the Jetix/Saban library with them. They would also buy out Toon Disney channels with Jetix blocks on them, including India, Japan, and- most notably- the United States, rebranding them into Jetix in 2008. The brand itself, while still boy focused and action heavy, would also start to air zany comedies as well.
In the US, at least, without Disney, Jetix forms long-term 5-year content deals with Warner Bros. (who was set to lose Kids’ WB in 2008, and was feuding with CN at the time) and 4Kids Entertainment (switching from CN when it comes to syndicating their shows), both of which IOTL introduced shows on Jetix in late 2007 (Batman, Superman, and Pinky and the Brain from WB, and Chaotic from 4Kids). This would even extend to first-run series, as Batman: The Brave and the Bold premieres on Jetix instead of CN. While these deals aren’t quite exclusive (CN still gets Scooby-Doo: Mystery Inc., MAD, and The Looney Tunes Show), Jetix would get most of the action and a lot of the more high-octane comedy series (including the DC shows and 4Kids’ bread and butter).
Series from Jetix Europe (and international Disney X-D coproductions IOTL) would also be included, ranging from Kid vs. Kat to Randy Cunningham: 9th Grade Ninja. SIP is absorbed into Jetix Europe, and continues making original shows. Most third party D
acquisitions, such as Naruto Shippuden, stick around. Power Rangers is never cancelled (though it does take a hiatus in 2012 so the Gokaiger adaptation can line up with PR’s 20th Anniversary in 2013). With SIP not completely shutting down, Jacqueline Tordjman doesn’t help form Zagtoon, and instead most Zagtoon shows like Miraculous are made for Jetix. Saban doesn’t rebuy Power Rangers from Disney, but instead gets a stake in Jetix. He may or may not sell it to Hasbro later down the line. As such, Jetix are the ones that buy 4Kids in 2012, resulting in them buying their properties, their dubbing studio, and their CW block, resulting in a brief period of Jetix on the CW.
Inspired by these twitter threads.
Basically, in late 2007 (and finalized in early 2008), Jetix Europe and Jetix Latin America would become independent from Disney, merging into an entity called Jetix Worldwide, taking SIP Animation and the Jetix/Saban library with them. They would also buy out Toon Disney channels with Jetix blocks on them, including India, Japan, and- most notably- the United States, rebranding them into Jetix in 2008. The brand itself, while still boy focused and action heavy, would also start to air zany comedies as well.
In the US, at least, without Disney, Jetix forms long-term 5-year content deals with Warner Bros. (who was set to lose Kids’ WB in 2008, and was feuding with CN at the time) and 4Kids Entertainment (switching from CN when it comes to syndicating their shows), both of which IOTL introduced shows on Jetix in late 2007 (Batman, Superman, and Pinky and the Brain from WB, and Chaotic from 4Kids). This would even extend to first-run series, as Batman: The Brave and the Bold premieres on Jetix instead of CN. While these deals aren’t quite exclusive (CN still gets Scooby-Doo: Mystery Inc., MAD, and The Looney Tunes Show), Jetix would get most of the action and a lot of the more high-octane comedy series (including the DC shows and 4Kids’ bread and butter).
Series from Jetix Europe (and international Disney X-D coproductions IOTL) would also be included, ranging from Kid vs. Kat to Randy Cunningham: 9th Grade Ninja. SIP is absorbed into Jetix Europe, and continues making original shows. Most third party D
acquisitions, such as Naruto Shippuden, stick around. Power Rangers is never cancelled (though it does take a hiatus in 2012 so the Gokaiger adaptation can line up with PR’s 20th Anniversary in 2013). With SIP not completely shutting down, Jacqueline Tordjman doesn’t help form Zagtoon, and instead most Zagtoon shows like Miraculous are made for Jetix. Saban doesn’t rebuy Power Rangers from Disney, but instead gets a stake in Jetix. He may or may not sell it to Hasbro later down the line. As such, Jetix are the ones that buy 4Kids in 2012, resulting in them buying their properties, their dubbing studio, and their CW block, resulting in a brief period of Jetix on the CW.With which money? And who owns it? Jetix was full Disney, they always obey Buena vista TV in those regards...and if they try to get external investors...they will get sweeped by the great recession