Cartoon References Quotes

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Above them, one of the blackened television screens brightens, and there's an announcement about the in-flight movie. It's an animated film about a family of ducks, one that Hadley's actually see, and when Oliver groans, shes about to deny the whole thing. But then she twists around in her seat and eyes him critically. "There's nothing wrong with ducks," she tells him, and he rolls his eyes. "Talking ducks?" Hadley grins. "They sing, too." "Don't tell me," he says. "You've already seen it." She holds up two fingers. "Twice." "You do know it's meant for five-year-olds, right?" "Five- to eight-year-olds, thank you very much." "And how old are you again?" "Old enough to appreciate our web-footed friends." "You," he says, laughing in spite of himself, "are a mad as a hatter." "Wait a second," Hadley says in mock horror. "Is that a reference to a...cartoon?" No, genius. It's a reference to a famous work of literature by Lewis Carroll. But once again, I can see how well that American education is working for you.
Jennifer E. Smith (The Statistical Probability of Love at First Sight)
<@mori>: My flatmate is addicted to Japanese Cartoons. I can feel neurons dying every time it turns on the TV. <@alan>: It? That's a curious way to refer to a person. <@mori>: Perfectly acceptable, for a certain type of flatmate. <@alan>: I'll make a note of the usage-fascination.
Aldous Mercer (The Prince and the Program (The Mordred Saga, #1))
Dream on, Bullwinkle.” “Oooh, a classic cartoon reference. Now you’re talking my language.” I couldn’t help a grin. “You like cartoons?” “Hell yeah! The classics, though. Looney Tunes, Rocky and Bullwinkle, Mickey Mouse, The Flintstones, The Jetsons, Transformers. I’ll even include the 1990s Batman animated series, but I usually stick to pre-1990.” I
Jasinda Wilder (Puck (Alpha One Security, #4))
Many moral advances have taken the form of a shift in sensibilities that made an action seem more ridiculous than sinful, such as dueling, bullfighting, and jingoistic war. And many effective social critics, such as Swift, Johnson, Voltaire, Twain, Oscar Wilde, Bertrand Russell, Tom Lehrer, and George Carlin have been smart-ass comedians rather than thundering prophets. What in our psychology allows the joke to be mightier than the sword? Humor works by confronting an audience with an incongruity, which may be resolved by switching to another frame of reference. And in that alternative frame of reference, the butt of the joke occupies a lowly or undignified status. ... Humor with a political or moral agenda can stealthily challenge a relational model that is second nature to an audience by forcing them to see that it leads to consequences that the rest of their minds recognize as absurd. ... According to the 18th-century writer Mary Wortley Montagu, 'Satire should, like a polished razor keen / Wound with touch that's scarcely felt or seen.' But satire is seldom polished that keenly, and the butts of a joke may be all too aware of the subversive power of humor. They may react with a rage that is stoked by the intentional insult to a sacred value, the deflation of their dignity, and a realization that laughter indicates common knowledge of both. The lethal riots in 2005 provoked by the editorial cartoons in the Danish newspaper Jyllands-Posten (for example, one showing Muhammad in heaven greeting newly arrived suicide bombers with 'Stop, we have run out of virgins!') show that when it comes to the deliberate undermining of a sacred relational model, humor is no laughing matter. (pp. 633-634)
Steven Pinker (The Better Angels of Our Nature: Why Violence Has Declined)
The Vikings spoke of a place at the world’s northern rim, sometimes called Ultima Thule, where the oceans emptied into a vast hole that recharged all the springs and rivers on the earth. The Greeks believed in a realm called Hyperborea that lay far to the north. A place of eternal spring where the sun never set, Hyperborea was said to be bordered by the mighty River Okeanos and the Riphean Mountains, where lived the griffins—formidable beasts that were half lion and half eagle. The notion that Saint Nicholas—a.k.a. Kris Kringle or Santa Claus—lives at the North Pole seems to have a much more recent vintage. The earliest known reference to Saint Nick’s polar residence comes from a Thomas Nast cartoon in an 1866 issue of Harper’s Weekly—the artist captioned a collection of his Yuletide engravings “Santa Claussville, N.P.”Still, the larger idea behind Nast’s conceit—of a warm, jolly, beneficent place at the apex of the world where people might live—had ancient roots, and it spoke to America’s consuming fascination with the North Pole throughout the 1800s.
Hampton Sides (In the Kingdom of Ice: The Grand and Terrible Polar Voyage of the USS Jeannette)
The notion that Saint Nicholas—a.k.a. Kris Kringle or Santa Claus—lives at the North Pole seems to have a much more recent vintage. The earliest known reference to Saint Nick’s polar residence comes from a Thomas Nast cartoon in an 1866 issue of Harper’s Weekly—the artist captioned a collection of his Yuletide engravings “Santa Claussville, N.P.” Still, the larger idea behind Nast’s conceit—of a warm, jolly, beneficent place at the apex of the world where people might live—had ancient roots, and it spoke to America’s consuming fascination with the North Pole throughout the 1800s.
Hampton Sides (In the Kingdom of Ice: The Grand and Terrible Polar Voyage of the USS Jeannette)
Brad Bird remembers a meeting during the making of The Incredibles, soon after he joined the studio, when Steve hurt his feelings by saying that some of the Incredibles artwork looked "kind of Saturday morning"––a reference to the low-budget cartoons that Hanna-Barbera and others produced. "In my world, that's kind of like saying, 'Your mama sleeps around,'" Brad recalls. "I was seething. When the meeting ended, I went over to Andrew and said, 'Man, Steve just said something that really pissed me off.' And Andrew, without even asking what it was, said, 'Only one thing?'" Brad came to understand that Steve was speaking not as a critic but as the ultimate advocate. Too often, animated superheroes had been made on the cheap and looked that way, too––on that Steve and Brad could agree. The Incredibles, he was implying, had to reach higher.
Ed Catmull (Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration)
You might consider a full shave," he suggested. "You certainly have the chin for it." Keir shook his head. "I must keep the beard." Looking sympathetic, the barber asked, "Pockmarks? Scars?" "No' exactly." Since the man seemed to explain an explanation, Keir continued uncomfortably, "It's... well... my friends and I, we're a rough lot, you ken. 'Tis our way to chaff and trade insults. Whenever I shave off the beard, they start mocking and jeering. Blowing kisses, calling me a fancy lad, and all that. They never tire of it. And the village lasses start flirting and mooning about my distillery, and interfering with work. 'Tis a vexation." The barber stared at him in bemusement. "So the flaw you're trying to hide is... you're too handsome?" A balding middle-aged man seated in the waiting area reacted with a derisive snort. "Balderdash," he exclaimed. "Enjoy it while you can, is my advice. A handsome shoe will someday be an ugly slipper." "What did he say, nephew?" asked the elderly man beside him, lifting a metal horn to his ear. The middle-aged man spoke into the horn. "Young fellow says he's too handsome." "Too handsome?" the old codger repeated, adjusting his spectacles and squinting at Keir. "Who does the cheeky bugger think he is, the Duke of Kingston?" Amused, the barber proceeded to explain the reference to Keir. "His Grace the Duke of Kingston is generally considered one of the finest-looking men who's ever lived." "I know-" Keir began. "He caused many a scandal in his day," the barber continued. "They still make jokes about it in Punch. Cartoons with fainting women, and so forth." "Handsome as Othello, they say," said a man who was sweeping up hair clippings. "Apollo," the barber corrected dryly. He used a dry brush to whisk away the hair from Keir's neck. "I suspect by now Kingston's probably lost most of those famed golden locks." Keir was tempted to contradict him, since he'd met the duke earlier that very day and seen for himself the man still had a full head of hair. However, he thought better of it and held his tongue.
Lisa Kleypas (Devil in Disguise (The Ravenels, #7))
Twenty years? No kidding: twenty years? It’s hard to believe. Twenty years ago, I was—well, I was much younger. My parents were still alive. Two of my grandchildren had not yet been born, and another one, now in college, was an infant. Twenty years ago I didn’t own a cell phone. I didn’t know what quinoa was and I doubt if I had ever tasted kale. There had recently been a war. Now we refer to that one as the First Gulf War, but back then, mercifully, we didn’t know there would be another. Maybe a lot of us weren’t even thinking about the future then. But I was. And I’m a writer. I wrote The Giver on a big machine that had recently taken the place of my much-loved typewriter, and after I printed the pages, very noisily, I had to tear them apart, one by one, at the perforated edges. (When I referred to it as my computer, someone more knowledgeable pointed out that my machine was not a computer. It was a dedicated word processor. “Oh, okay then,” I said, as if I understood the difference.) As I carefully separated those two hundred or so pages, I glanced again at the words on them. I could see that I had written a complete book. It had all the elements of the seventeen or so books I had written before, the same things students of writing list on school quizzes: characters, plot, setting, tension, climax. (Though I didn’t reply as he had hoped to a student who emailed me some years later with the request “Please list all the similes and metaphors in The Giver,” I’m sure it contained those as well.) I had typed THE END after the intentionally ambiguous final paragraphs. But I was aware that this book was different from the many I had already written. My editor, when I gave him the manuscript, realized the same thing. If I had drawn a cartoon of him reading those pages, it would have had a text balloon over his head. The text would have said, simply: Gulp. But that was twenty years ago. If I had written The Giver this year, there would have been no gulp. Maybe a yawn, at most. Ho-hum. In so many recent dystopian novels (and there are exactly that: so many), societies battle and characters die hideously and whole civilizations crumble. None of that in The Giver. It was introspective. Quiet. Short on action. “Introspective, quiet, and short on action” translates to “tough to film.” Katniss Everdeen gets to kill off countless adolescent competitors in various ways during The Hunger Games; that’s exciting movie fare. It sells popcorn. Jonas, riding a bike and musing about his future? Not so much. Although the film rights to The Giver were snapped up early on, it moved forward in spurts and stops for years, as screenplay after screenplay—none of them by me—was
Lois Lowry (The Giver (Giver Quartet Book 1))
Our favorite example of meaning comes from a “Peanuts” cartoon strip. Lucy asks Schroeder—Schroeder playing the piano, of course, and ignoring Lucy—if he knows what love is. Schroeder stands at attention and intones, “Love: a noun, referring to a deep, intense, ineffable feeling toward another person or persons.” He then sits down and returns to his piano. The last caption shows Lucy looking off in the distance, balefully saying, “On paper, he’s great.” Most mission statements suffer that same fate: On paper, they’re great.
Warren Bennis (Leaders: The Strategies for Taking Charge (Collins Business Essentials))
SIMPSONS BLUFFER'S RULE #2 The competent bluffer should always refer to the performers who play The Simpsons as 'the voice talent' never 'actors'. For extra effect, drop their first names... This implies some tacit familiarity and your bluffee will simply melt before your eyes like the witch in The Wizard of Oz
Paul Couch (The Bluffer's Guide to The Simpsons (The Bluffer's Guides))
A staple of his parlance was the word cartoon, which he used to refer to anything from a graph to a video.
Nabeel Qureshi (Seeking Allah, Finding Jesus: A Devout Muslim Encounters Christianity)
master whose every whim is law. (Note to friends with children: I am referring only
Tim Kreider (We Learn Nothing: Essays and Cartoons (A Smart and Funny Essay Collection))
What are you up to? I tell her, a little proud that I can answer with something truthful, that I'm not just passed out in a motel room, begging for sleep to save me from my thoughts. You? The same thing I do every night, Carlos. Trying to take over the world? I write, sure she's making a Pinky and the Brain reference, this old cartoon that Felix got me into.
Adi Alsaid (North of Happy)
Also, I can't believe that group calls themselves the Elite Four. That is absolutely hilarious." "Why is that hilarious? Seems more pretentious to me." "Because the Elite Four is a Pokémon thing. They're the top four trainers in their region. How do you not---" "That's funny, I didn't think of Pokémon, I thought of Boys Over Flowers. Like the F4," Elena said. "Me too!" I may not know much about cartoons and anime, but J-dramas and K-dramas? Elena was speaking my language.
Mia P. Manansala (Murder and Mamon (Tita Rosie's Kitchen Mystery, #4))
Sophie sighed as Biana raced off. “She’s going to turn me into her little doll.” “Probably,” Fitz agreed. “But at least she’s right.” Sophie figured he was referring to Biana’s camouflage-the-gloves strategy—which was pretty brilliant, despite how annoying Sophie was sure it was going to be. But Fitz gave her his most charming smile and added, “Red is definitely your color.” If she were a cartoon character, Sophie’s eyes would’ve turned into little hearts. “Hurry up and get dressed,” Biana shouted from down the hall, saving Sophie from having to come up with a coherent response.
Shannon Messenger (Lodestar (Keeper of the Lost Cities, #5))
Just before the world ended, people hated the word moist. Poverty was still a problem. Terrorism was a big issue at the time. Genocide was always happening somewhere. But you had to be careful when using the word moist. It was acceptable if you were describing cake, but if you used it in any other sense you were sure to get a talking to. Most people didn’t know a terrorist personally. If we had, then maybe more of us would have told them off with stern words and clever slogans. You couldn’t yell at poor people at all. It wasn’t acceptable. You couldn’t even wonder out loud why they were poor without being an insensitive ass. You couldn’t even suggest a new solution to the problem without being labeled horrible things. Perhaps it was this lack of outlet that caused so much frustration regarding the word moist. We couldn’t do anything about international terror or rampant poverty, but we could always chastise a friend for using a word that made them uncomfortable. Maybe this is why so much effort was put into hating the word. They scorned their friends whenever it was used and followed the scorning with a two-minute rant about how much they hated the word. They spent time and creative resources developing flowcharts for when the word was appropriate and clever cartoons to express just how much it annoyed them when it was used outside of cake references. They shared all of this on social media and built a wall of criticism that kept people in check. We could shut out what we didn’t want to hear. We felt free to berate anyone who thought different than us. By doing this, we fought the good fight. We were activists despite our inactivity. Moist was a line drawn in the sand and we stood behind our walls daring anyone to cross it. It may seem silly now. It may seem that our outrage was misdirected, but it made us feel safe. We stood behind our walls fighting our own battles against the things that offended us most. Times were good as long as the real problems were well outside our walls.
Benjamin Wallace (Post-Apocalyptic Nomadic Warriors)