Disney Cartoons Quotes

He'd woken up after flying from Boston to Montana to find his da cooking breakfast for them: sausage and pancakes shaped like deer. It wasn't just any deer, either - they looked like Bambi from the disney cartoon. Charles didn't want to know how his father had managed that

You’re not . . . normal, Clara. You try to pretend you are. But you’re not. You talked to a grizzly bear, and it obeyed you. Birds follow you like a Disney cartoon, or haven’t you noticed? And for a while after you came back from Idaho Falls, Wendy thought you were on the run from someone or something. You’re good at everything you try. You ride a horse like you were born in the saddle, you ski perfect parallel turns your first time on the hill, you apparently speak fluent French and Korean and who knows what else. Yesterday I noticed that your eyebrows kind of glitter in the sun. And there’s something about the way you move, something that’s beyond graceful, something that’s beyond human, even. It’s like you’re . . . something else.

Hot damn. Cue the violins and happy cartoon bunnies. I was in the middle of a Disney moment. Because this guy was gorgeous. And we were standing so close to each other. If he hadn't been holding onto a barely contained rage directed at yours truly, it could have almost been construed as romantic.

Ever, can't you just relax and enjoy the view? When was the last time you were in Paris anyway?" "Never. I've never been to Paris. And I hate to break it to you, Ava, but this—is not Paris. This is like some cranked up Disney version of Paris. Like, you've taken a pile of travel brochures and French postcards, and scenes from that adorable cartoon movie Ratatouille, mixed them all together and voila, created this.

There’s a whole psychological reason for those cartoons about good against evil. We have "Superman" and all those other hero people, so that we can go out into life and try to be something. I’ve got most of Disney’s animated movies on video-tapes, and when we watch them. Oh, I could just eat it, eat it. […] Jimmy Cricket, Pinocchio, Mickey Mouse – these are world-known characters. Some of the greatest political figures have come to the United States to meet them.

Ohana means family. Family means no one gets left behind or forgotten.

Sigh. Here's another fine woman that historians can't believe was real. Of course she was real. Not only is there a splendid Chinese poem called "The Ballad of Mulan", there is also an excellent cartoon by Disney.

94 was a good year to be twelve. Star Wars still had two more years as Box Office King, cartoons were still hand-drawn, and the Disney "D" still looked like a backwards "G." Words like "Columbine," "Al Qaeda" and "Y2K" were not synonymous with "terror," and 9-1-1 was an emergency number instead of a date. At twelve years old, summer still mattered. Monarch caterpillars still crawled beneath every milkweed leaf. Dandelions (or "wishes" as Mara called them) were flowers instead of pests. And divorce was still considered a tragedy. Before Mara, carnivals didn't make me sick.

Patrick walked in dressed in an utterly unmentionable bathrobe. I was pretty sure that Disney wouldn’t have approved of what their cartoon characters were doing on that dark blue satin background. On the other hand, I was really glad he had on the bathrobe.

Peter Pan has to be the book of my childhood. Come to think of it, it's the book of my adulthood too. It's a book which, in the reading of it, takes me back to editions that I've had and lost, with various illustrators' work in them. It brings back moments sitting reading it with my mother. It brings back my first contact with the Disney cartoon. It brings back standing in the play-yard when I was a kid, when the wind was really blowing, and closing my eyes, spreading my arms and pretending I could fly. It brings back childhood dreams of flying. It brings back the first encounter I ever had with an invented world... Never Never Land was really the first journey I took to an invented world which I believed in wholly and completely. I remember the immense solidarity that I felt with the Lost Boys, with Peter, with the Indians - how much I wanted to be a Red Indian - how much the saving of Tiger Lily meant to me as a kid, how much I wanted to one day wake up and save an Indian squaw from drowning.

My heartbeats skipped and the vixen inside me sang like some kind of love-struck heroine in a Disney cartoon.

To most people today, the name Snow White evokes visions of dwarfs whistling as they work, and a wide–eyed, fluttery princess singing, "Some day my prince will come." (A friend of mine claims this song is responsible for the problems of a whole generation of American women.) Yet the Snow White theme is one of the darkest and strangest to be found in the fairy tale canon — a chilling tale of murderous rivalry, adolescent sexual ripening, poisoned gifts, blood on snow, witchcraft, and ritual cannibalism. . .in short, not a tale originally intended for children's tender ears. Disney's well–known film version of the story, released in 1937, was ostensibly based on the German tale popularized by the Brothers Grimm. Originally titled "Snow–drop" and published in Kinder–und Hausmarchen in 1812, the Grimms' "Snow White" is a darker, chillier story than the musical Disney cartoon, yet it too had been cleaned up for publication, edited to emphasize the good Protestant values held by Jacob and Wilhelm Grimm. (...) Variants of Snow White were popular around the world long before the Grimms claimed it for Germany, but their version of the story (along with Walt Disney's) is the one that most people know today. Elements from the story can be traced back to the oldest oral tales of antiquity, but the earliest known written version was published in Italy in 1634.

I used to think that destiny was fluid, because isn’t that the point of every Disney movie and Saturday-morning cartoon? You make your own choices. You decide how life goes. I always thought that your fate line would change if something happened, bam, something goes wrong and the line on your palm goes all wonky to reflect that. Nope. It still looks fine.

Next, Lucas began inserting his names and places into a short narrative, not much more than a story fragment, called “The Journal of the Whills.” He envisioned borrowing a storytelling device from the old Disney cartoons, showing a storybook—in this case the Journal of the Whills—“falling

It’s Bambi,” I correct, unable to stifle a laugh. “And chill, dude. Bambi’s a cartoon character from my childhood. You know, the Disney one?” “Never watched them,” he mutters, climbing the stairs. “Too busy having a life.” I pause at the bottom of them and gawk at the back of his head. “Never… watched… a Disney…” I echo.

were not people but cartoon mice and rats and barnyard animals, human-sized, and celebrating—began to sing songs from Disney cartoons. Fat Charlie knew that they wanted him to join in with them. Even asleep he could feel himself panicking at the simple idea of having to sing in public, his limbs becoming numb, his lips prickling. I

As a young cartoonist, Walt Disney faced many rejections from newspaper editors who said he had no talent. One day a minister at a church hired him to draw some cartoons. Disney was working out of a small rodent-infested shed near the church. Seeing a small mouse inspired him to draw a new cartoon. That was the start of Mickey Mouse.

Where you from?" "Florida." "Florida," he repeated. "Wait, you mean with Disney World and all?" "Yep, we have Disney World." "You ever been?" "A few times," she said. Always with friends, though - never with her parents. "Aw man," said Walter. "Disney World. I'd like that, walking around and everything looking like it's out of a cartoon or something. Ever meet Mickey Mouse?" "I have." Walter laughed. "That's cool. You met Mickey Mouse. That's cool." "I'm from Ireland," said Glen. "I don't care," said Walter.

But it was in the art of the cartoon film, with its limitless possibilities, that New Athens had made its most successful experiments. The hundred years since the time of Disney had still left much undone in this most flexible of all mediums. On the purely realistic side, results could be produced indistinguishable from actual photography—much to the contempt of those who were developing the cartoon along abstract lines.

Mr. Milton had an Adam’s apple the size of a champagne cork and bore as uncanny a resemblance to the Disney character Goofy as was possible without actually being a cartoon dog. His wife was just like him but hairier.

Peace and beauty? You think Indians are so worried about peace and beauty? ... If Wovoka came back to life, he'd be so pissed off. If the real Pocahontas came back, you think she'd be happy about being a cartoon? If Crazy Horse, or Geronimo, or Sitting Bull came back, they'd see what you white people have done to Indians, and they'd start a war. They'd see the homeless Indians staggering around downtown. They'd see fetal-alcohol-syndrome babies. They'd see the sorry-ass reservations. They'd learn about Indian suicides and infant mortality rates. They'd listen to some dumb-ass Disney song and feel like hurting somebody. They'd read books by assholes like Wilson, and they would start killing themselves some white people, and then kill some asshole Indians too. Dr. Mather, if the Ghost Dance worked, there would be no exceptions. All you white people would disappear. All of you. If those dead Indians came back to life ,they wouldn't crawl into a sweathouse with you. They wouldn't smoke the pipe with you. They wouldn't go to the movies and munch popcorn with you. They'd kill you. They'd gut you and eat your heart.

When choosing the names of the seven dwarfs for Snow White and the Seven Dwarfs, Disney’s first full-length cartoon, over 50 names were considered. Before he settled on Dopey, Grumpy, Doc, Bashful, Sleepy, Sneezy and Happy, it is possible they might have been any from a list which included: Awful, Blabby, Burpy, Chesty, Cranky, Dippy, Dirty, Flabby, Gabby, Gloomy, Hotsy, Puffy, Sniffy, Scrappy, Shifty, Sleazy, Tipsy, Weepy, Wistful, and Woeful. ==========

Lions should be strong but sweet beasts in a Disney cartoon. But they aren't, so when they act like lions you're angry at them for not being the fantasy animals you imagined. Russian bears don't put on top hats and ride unicycles. Or sleep in bed next to Goldilocks. People force them to do those stupid things in circuses and films and children's books. Sure, some will be more docile or more ferocious than others, but in the end they will always, always be bears. And you should never turn your back on them. You should never even get near them; it's that simple. They're not being dishonest - you are in your perception of them.

What happened was, they put me and my co-marshal, author Ridley Pearson, into an antique fire truck along with Daisy Duck and Clarabelle the Cow. I have nothing against either of these veteran Disney characters, but let's be honest, their careers are not currently sizzling, especially in the case of Clarabelle, who hasn't had a hit cartoon since roughly the Civil War.

Sue stepped into a haven that smelled of candles and lemon-scented dish soap, a cabinet of curiosities, one of which was the bathtub smack dab in the middle of the small kitchen. Bob Roy’s railroad flat was four tight, connected rooms, each stuffed with koombies, knickknacks, doodads, furniture pieces of any style, shelves, books, photos in frames, trophies bought from flea markets, old records, small lamps, and calendars from decades before. “I know,” he said. “It looks like I sell magic potions in here, like I’m an animated badger from a Disney cartoon.” He lit a burner on the stove with a huge kitchen match, then filled a shiny, Olde English–style kettle with water from the tap. As he prepared cups on a tray he said, “Tea in minutes, titmouse. Make a home for yourself.

I do love Alice in Wonderland though. That’s something I think I could do very well. Don’t you think we ought to do an A.W.? A.W.’s Alice in Wonderland? Andy Warhol’s Alice in Wonderland? A.W. stands for a lot of things, I understand. It would make a fantastic film, so I wanted somebody to write the script for it in a modern sense. I think it would be the most marvelous movie in the world if it could be done, don’t you think? Really, I don’t think they’ve done one since they did a Walt Disney one - which isn’t really doing it. In a sense it is, but not in the way it really should be done. What’s needed right now is a real scene. I mean not just cartoon characters, but the actual character of people because there’s so many fantastic people that you might as well use the people.

Much of the colony’s musical experimenting was, quite consciously, concerned with what might be called “time span.” What was the briefest note that the mind could grasp—or the longest that it could tolerate without boredom? Could the result be varied by conditioning or by the use of appropriate orchestration? Such problems were discussed endlessly, and the arguments were not purely academic. They had resulted in some extremely interesting compositions. But it was in the art of the cartoon film, with its limitless possibilities, that New Athens had made its most successful experiments. The hundred years since the time of Disney had still left much undone in this most flexible of all mediums. On the purely realistic side, results could be produced indistinguishable from actual photography—much to the contempt of those who were developing the cartoon along abstract lines.

Thus is the defining characteristic of gay millennials: we straddle the pre-Glee and post-Glee worlds. We went to high school when faggot wasn’t even considered an F-word, when being a lesbian meant boys just didn’t want you, when being nonbinary wasn’t even a remote option. We grew up without queer characters in our cartoons or Nickelodeon or Disney or TGIF sitcoms. We were raised in homophobia, came of age as the world changed around us, and are raising children in an age where it’s never been easier to be same-sex parents. We’re both lucky and jealous. As the state of gay evolved culturally and politically, we were old enough to see it and process it and not take it for granted–old enough to know what the world was like without it. Despite the success of Drag Race, the existence of lesbian Christmas rom-coms, and openly transgender Oscar nominees, we haven’t moved on from the trauma of growing up in a culture that hates us. We don’t move on from trauma, really. We can’t really leave it in the past. It becomes a part of us, and we move forward with it. For LGBTQ+ millennials, our pride is couched in painful memories of a culture repulsed and frightened by queerness. That makes us skittish. It makes us loud. It makes us fear that all this progress, all this tolerance , all of Billy Porter's red carpet looks can vanish as quickly as it all appeared.

Steamboat Willie put Walt Disney on the map as an animator. Business success was another story. Disney’s first studio went bankrupt. His films were monstrously expensive to produce, and financed at outrageous terms. By the mid-1930s Disney had produced more than 400 cartoons. Most of them were short, most of them were beloved by viewers, and most of them lost a fortune. Snow White and the Seven Dwarfs changed everything. The $8 million it earned in the first six months of 1938 was an order of magnitude higher than anything the company earned previously. It transformed Disney Studios. All company debts were paid off. Key employees got retention bonuses. The company purchased a new state-of-the-art studio in Burbank, where it remains today. An Oscar turned Walt from famous to full-blown celebrity. By 1938 he had produced several hundred hours of film. But in business terms, the 83 minutes of Snow White were all that mattered.

The Toyota Production System unlocked employees’ capacity to suggest innovations by giving them more control. The Disney system does something different. It forces people to use their own emotions to write dialogue for cartoon characters, to infuse real feelings into situations that, by definition, are unreal and fantastical. This method is worth studying because it suggests a way that anyone can become an idea broker: by drawing on their own lives as creative fodder. We all have a natural instinct to overlook our emotions as creative material. But a key part of learning how to broker insights from one setting to another, to separate the real from the clichéd, is paying more attention to how things make us feel. “Creativity is just connecting things,” Apple cofounder Steve Jobs said in 1996. “When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something.

Remember that old Disney movie, the cartoon with the dogs, Lady and the Tramp?" she said with a jerky laugh. "it's Jade's favorite of course. We've watched it a million times. This reminds me of that scene where they're eating spaghetti." He raised his eyebrows. He knew exactly the scene. Both dogs both slurped the same piece and ended up kissing.

book, Animated Cartoons: How They Are Made, Their Origin and Development, by Edwin G. Lutz,

Walt Disney in fact, later admitted that it was Charlie’s tramp template on which the cartoon character Mickey Mouse had been based.

(For later cartoons, Walt recorded himself doing the voices of both Mickey and Minnie.)

The old gods and their magics did not dwindle away into murky memories of brownies and little fairies more at home in a Disney cartoon; rather, they changed. The coming of Christ and Christians actually freed them. They were no longer bound to people’s expectations, but could now become anything that they could imagine themselves to be. “They are still here, walking among us. We just don’t recognize them anymore.

2. Core purpose is an organization’s most fundamental reason for being. It should not be confused with the company’s current product lines or customer segments. Rather, it reflects people’s idealistic motivations for doing the company’s work. Disney’s core purpose is to make people happy—not to build theme parks and make cartoons. An

Disney has diversified not through its key skills—after all, running a theme park or a cruise ship has little in common with making a cartoon—but through its audience. The people who go to Disney’s theme parks or buy its branded clothes are the same people who enjoy watching its cartoons and movies. This strategy—launching completely different products, aimed at existing customers—is horizontal diversification in action. How

Mickey and Minnie, Disney’s King and Queen, were there to greet us on the fifth floor of the Grand Floridian Beach Resort when we arrived on that afternoon. Harry’s face lit up. Not that he was interested in being cuddled by people dressed as two giant cartoon characters – he wanted to get to the rides. Diana was thrilled too, but for different reasons. Her sons, instead of being at Balmoral with their father, as they usually were in August, were free, free to do what other children did on holiday. My reconnaissance some weeks earlier had proved invaluable. I advised Diana in my briefing memo that the fact that Disney is spread over 43 square miles was to our advantage in our habitual battle to outwit the media because Disney, unlike any other theme park, has a VIP package which uses reserved routes to rides and attractions, along a predetermined course. A network of restricted paths and tunnels, not accessible to the public, enabled special guests literally to pop up at the front of queues and go straight on the ride without anyone elsewhere in the park knowing which attraction they were on. Moreover, conscious of Diana’s fear of being criticised for using her royal status to secure star treatment, my memo, dated 2 August 1993, reassured her because I had recommended the VIP package for security reasons: ‘At this time of the year up to 1 million people could be using the complex. Many rides and attractions will have queues of 2 to 3 hours’ waiting. The VIP method is not queue jumping, and will not be seen by others so to be.’ The note was returned with a huge tick from her pen through that section.

It was no accident that Mickey arrived with sound and music because music became the metaphor for his inner muse and the sine qua non of his existence. In his early cartoons, some of which are musical revues, he is wholly a musical creature—as much Fred Astaire as Charlie Chaplin. Hearing notes, Mickey cannot help but dance, sing, and make music himself, turning everything he spots into an instrument and converting reality into happiness. Even his relationship with Minnie Mouse is musically inspired; they literally make beautiful music together and bring joy and harmony, even fluidity, out of what is often threat and chaos. And this is also why the cartoons typically end with Mickey beaming or laughing, a chipper spirit, no matter what has befallen him. For all the subliminal attractions of his shape or his size or his sexuality, Mickey’s secret, the appeal of which is obvious and not limited to Depression America, is that he can always make things right in his head—just as Walt Disney, the escape artist, could. In the end Mickey Mouse was the eternal promise of cheerful solipsism.

Little House on the Prairie and Disney Sunday Movie were safe. Mister Rogers’ Neighborhood and Sesame Street were on the list, too, until the Prophet deemed them worldly and idolatrous because puppets, like cartoons, were an imitation of God’s creation.

Walter, how on earth are you going to support this big place with those cartoons of yours? Aren’t you afraid you’ll go broke?” Walt replied, “Well, if I do fail, Dad, I can get out easy. You notice how this place is built, with rooms along long corridors? If I go broke with my cartoons, I can always sell it for a hospital.

The Value of a Spouse At age 26, Walt Disney was already the head of a successful cartoon studio in Hollywood, California. But business was less than rosy for the young cartoonist, because his principal property, Oswald the Rabbit, had just been wrested from his control by his financial backers. "Mrs. Disney and I were coming back from New York on the train and I had to have something I could tell them," He recalled. "I have lost Oswald, but I had this mouse in the back of my head..." Walt’s new creation was a little mouse in red velvet pants named "Mortimer." 'Walt's wife, Lillian, felt that was too pompous a name for such a cute character and suggested "Mickey'' instead.

how to make notes ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1584-1589 | Added on Monday, 15 June 2015 11:21:47 wanted to share my ‘colour coded’ way of remembering things with everybody, so they too could benefit. I felt like I had stumbled upon a great secret and my discovery would be hailed. I pictured it being used in schools, colleges and everywhere else as a new memory technique. I wondered why nobody else had thought of such a simple but brilliant technique earlier. As I was waiting for him to finish making the photocopies, my eyes chanced upon small glittering stickers of cartoon characters like Tw eety bird, Fairies and Garfield and some Disney characters, which children use to decorate their books and other objects. I thought the stickers would make a nice finishing touch and I bought twenty sheets. I also came across some very beautiful printed stationery and could not resist buying about eight packets of writing sheets. They looked very beautiful and ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Note at location 1596 | Added on Monday, 15 June 2015 11:24:46 cont. how to make notes ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1590-1596 | Added on Monday, 15 June 2015 11:24:46 I also looked around the shop and discovered some water colours. I had last painted with water colours only in school. On an impulse, I bought a set of water colours and a set of brushes as well. It was like an urgent impulse inside my head that was driving me to buy all this stuff. They seemed absolutely essential. I reached home armed with my large bag of purchases and unpacked them carefully and arranged them all on my desk. Then I sat down and decorated the corners of each set of notes with tiny stickers of cartoon characters. I used highlighter pens and highlighted each set of the notes in my colour coded way with green, purple and orange. There were seventy sets to finish and I was like a woman possessed. I stayed up the whole night doing just this. I was a reservoir of energy. I just couldn' t stop. Strangely I did not feel even a little tired. ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1617-1617 | Added on Monday, 15 June 2015 11:55:29 uncannily ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1650-1650 | Added on Monday, 15 June 2015 14:48:08 besotted ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location

True Love… it’s the most wonderful human emotion and one of the most elusive. We search for it, trying to find that one person in the whole world worthy enough to spend our lives with. When you look at the trail of broken hearts, the rivers of tears and the broken dreams, it’s quite obvious that it’s not an easy dream to achieve. Don’t we rightly call it the Quest for Love? That’s why when we think we’ve found the right person, we are giddy with happiness and relief. Finally! The answer to our prayers has come after such a long wait. We are safe. We are loved. A lot of women view marriage this way and I blame that on all the Walt Disney cartoons we watched as little girls. There’s this beautiful helpless princess locked away in a castle and here comes this handsome prince to save her from her miserable life. Classic. Then, after the grand wedding ball, the movie ends with: “And They Lived Happily Ever After.” That’s it? What happened afterwards? Nothing’s mentioned about that. We are made to think that it all ends there, that the couple’s happiness is secured and a given. They love each other, right? They went through all that trouble just to be together. So they’ll be happy. End of story.

Back then, there weren’t channels dedicated to subcategories of the population. There was no Disney channel, no Food Network, no ESPN, no Bravo. There was Sam Donaldson, Peter Jennings, and, my personal crush, Tom Brokaw on the news, and we got cartoons for three hours on Saturday mornings until CBS switched to golf at 11:00 after the Smurfs. Oh sure, MTV hit the scene in 1981, but we couldn’t watch it because of the devil. Apparently we could watch a show starring two outlaw brothers, their half-naked cousin, and a car painted with the Confederate flag but couldn’t watch Madonna sing “Like a Virgin” because we might get secondhand pregnant.

Although it’s mostly just annoying, self-infantilisation’s pervasive existence in the culture could also be the harbinger of something more sinister. Last year, the comic book author Alan Moore suggested that the popularity of superhero films represents an “infantilisation that can very often be a precursor to fascism”. This might sound hyperbolic, but it’s true that a certain kind of kitsch infantilism was always a feature of Nazi art, which was hostile to moral ambiguity and formal complexity. Hitler himself was a Disney adult. If the desire to relinquish responsibility for your own life can be considered an infantile trait, it’s easy to see why this would make you more susceptible to authoritarianism. Today’s white nationalists – with their cartoon Pepes and their ‘frens’ – are as smooth-brain and babyish as any online community, while right-wing reactionaries have recently taken to eulogising 90s video games, Blockbuster and Toys R Us – a glorious past that has been robbed from us by wokeness.

What type of cartoons are Taylor Swift’s favorite? A: Taylor Swift loves anything and everything Disney. Taylor has even described herself as obsessed with Disney cartoons.

This was my first visit to Walt Disney’s Magical Money Maw, and I initially had a typically cynical Chicagoan’s reaction. This place was an amusement park posing as a Disney movie come to life, with college kids in big-headed cartoon-character costumes mingling like monsters among children whose reactions veered between disappointment and terror. Here, the creator (not God but the beaming mustached one on TV) served up turn-of-the-century childhood memories painted with a pastel brush, inviting visitors into a fanciful American past sprinkled with pixie dust to banish actual memories of an era awash in financial failures, railroad strikes, immigrant tenements, racist lynchings, and social protest, right and left.

I thought about how my idols growing up were not real Native women but instead cartoon caricatures that Disney made in the form of Tiger Lily and Pocahontas.

THERE WAS ONE MAN in the movie business immune to the usual pressures of dealing with actors, directors, set design, and union contractors. He created stars who never aged, never complained, never walked off the job, and never demanded salaries. By 1937 Walt Disney was already a dominant parallel force to the studio system, “the Horatio Alger hero of Cinema.” He did need distribution, but his company’s work had such a strong draw at the box office that the distribution arms needed Disney more than the other way around. He controlled the biggest star in the world, Mickey Mouse, who had debuted in a short seven-minute cartoon Steamboat Willie in 1928. Even better, Mickey was a commercial phenomenon away from the box office.

Jacob interrupted my thoughts. “There’s clowns in there.” My gut twisted just a little. I placed my hand on the back of his neck. “Can you see someone inside there?” “No, but clowns live in red tents.” He was at the age where he constantly asked about how the world worked. “At the doctor they give you shots?” “Saws are for cutting boards, but hammers are for nails?” “When I’m five, I will be as tall as you?” His declaration about clowns living in red tents must be a law of the universe that he’d extrapolated from a picture book or Disney Plus cartoon.

People always think of you like the one in the Hercules cartoon. Ruthless. Erratic.” He stared at me. “The Disney cartoon?” “Yes.” His gaze dropped to my lips and his finger trailed to the other side of my face. “I can assure you my true form doesn’t have flaming blue hair.

The reverend’s wife normally affected the personality of a cheerful talking animal in a Disney cartoon,

but nothing serious happened until July 28, 1942, when Jones went into the studio to record an amusing anti-Nazi war ditty, Der Fuehrer’s Face. Originally intended for the Walt Disney cartoon, Donald Duck in Axis Land, this became in Jones’s hands a musical riot, rocketing the group to national stardom in less than a month. It demolished Hitler’s claims to genetic superiority and established the raspberry as a respectable part of American radio.

Now Mickey is about to take a new step. Starting this month, the mouse actor is making his appearance in color! Mr. Mouse has graduated from the ordinary black and white films. Of course, this is an experiment, Disney frankly admits that his experiment is daring. The public may not like Mickey in his new array of brilliant colors. For that reason, only a few of the cartoon comedies starring the mouse actor will be produced this new way. Then Disney will await the public response. If that response is favorable, Mickey will keep his “coat of colors.” If not, Mickey will be returned to his old black and white formula.

Mom was giving him a big hug, wearing her yoga leotard from work, holding the large kitchen knife she’d just been chopping dinner with. If they weren’t my family I might have been frightened. “Well, how’d you do?” she asked, pulling back to look him in the face. “I won third place in the junior division!” Josh exclaimed with wide, innocent eyes like an adorable woodland creature in a Disney cartoon. I wondered what he was up to. I wanted to slap him. But then I would be forced to explain to my mom why I’d slapped the adorable woodland creature.

Not because of some Disney cartoon or fairytale, I believe in a man who cherishes, loves and holds me and my personal space, who protects me, my loved ones and my integrity, a man who'll look into my eyes when we're 80 and see nothing but beauty. Not because of some far-fetched romantic ideas, but because that is exactly what I do for my loved one, and I don't need to be a prince to do so.

Rapunzel! She’s just like me. I just relate to her so much, and I’ve been told that she’s my cartoon twin! I’d love to be her best friend! Or play her on Broadway! [laughs]

Likewise, if you read us kvetching about a cartoon-based roller coaster in EPCOT, or that the adjective regal means “fit for a king” and absolutely shouldn’t be used in the name of a post-Colonial American restaurant next to an attraction literally dedicated to the republic, it’s because those things don’t make sense in the stories that Disney has already established. And as Disney says, it all begins with a story.

Walt Disney can take over television any time he likes. Yesterday afternoon, in a special holiday show at 4 o’clock over N.B.C., he momentarily relaxed his ban against television appearances by Mickey Mouse, Donald Duck, Pluto and the Seven Dwarfs. The result was one of the most engaging and charming programs of the year, an hour of make-believe that was altogether wonderful. As will surprise nobody, Mickey and his friends in Disneyland are perfect for TV. It’s not just that the cartoons reproduce superbly on the small screen of television. But after several years of video puppets, it is heady wine for a television viewer suddenly to partake of the imaginative fantasy and enticing humor which are the stamp of Mr. Disney’s genius. From 4 to 5 o’clock yesterday all ages could relax and laugh together.

Try regarding the inner critic as something that lacks credibility. You could imagine it as a ridiculous character, like a silly cartoon villain in a Disney movie. Place it “over there” in your mind, outside the core of your being, like that annoying person in a meeting who is always critical but whom everybody tunes out after a while.

I excused myself to the woman I was with and made my way over to these men. I stopped to ask my friend Buller to watch my back. The thing is, people like this can’t be talked to, and so I wasn’t going to mess around with this crazed windmill and his sidekick, Don Quixote. I hit the mouthy crazed windmill with a thumping right, a left, right, smack on the chin; he fell apart and was out for the count before he hit the deck. I turned to Don Quixote and off he shot like the Disney cartoon character of Speedy Gonzales.

The only thing that mattered to him was that he had done everything in his power to make the cartoon as excellent as it could be.