Transformer Cartoon Quotes

Fairy tales are about trouble, about getting into and out of it, and trouble seems to be a necessary stage on the route to becoming. All the magic and glass mountains and pearls the size of houses and princesses beautiful as the day and talking birds and part-time serpents are distractions from the core of most of the stories, the struggle to survive against adversaries, to find your place in the world, and to come into your own. Fairy tales are almost always the stories of the powerless, of youngest sons, abandoned children, orphans, of humans transformed into birds and beasts or otherwise enchanted away from their own lives and selves. Even princesses are chattels to be disowned by fathers, punished by step-mothers, or claimed by princes, though they often assert themselves in between and are rarely as passive as the cartoon versions. Fairy tales are children's stories not in wh they were made for but in their focus on the early stages of life, when others have power over you and you have power over no one. In them, power is rarely the right tool for survival anyway. Rather the powerless thrive on alliances, often in the form of reciprocated acts of kindness -- from beehives that were not raided, birds that were not killed but set free or fed, old women who were saluted with respect. Kindness sewn among the meek is harvested in crisis... In Hans Christian Andersen's retelling of the old Nordic tale that begins with a stepmother, "The Wild Swans," the banished sister can only disenchant her eleven brothers -- who are swans all day look but turn human at night -- by gathering stinging nettles barehanded from churchyard graves, making them into flax, spinning them and knitting eleven long-sleeved shirts while remaining silent the whole time. If she speaks, they'll remain birds forever. In her silence, she cannot protest the crimes she accused of and nearly burned as a witch. Hauled off to a pyre as she knits the last of the shirts, she is rescued by the swans, who fly in at the last moment. As they swoop down, she throws the nettle shirts over them so that they turn into men again, all but the youngest brother, whose shirt is missing a sleeve so that he's left with one arm and one wing, eternally a swan-man. Why shirts made of graveyard nettles by bleeding fingers and silence should disenchant men turned into birds by their step-mother is a question the story doesn't need to answer. It just needs to give us compelling images of exile, loneliness, affection, and metamorphosis -- and of a heroine who nearly dies of being unable to tell her own story.

All the cartoonists at heart liked him, and there was seldom or never anything bitter or really unfriendly in their portrayals of him; they were uniformly good-natured.” Caricatures even transformed his failure during a mid-November bear hunt into a triumph, conjuring an image of the president steadfastly refusing to shoot a small bear furnished for the occasion. As renditions of the original Clifford Berryman cartoon proliferated, the bear dwindled in size until he appeared as a tiny cub, prompting toy store owners to market stuffed bears in honor of Teddy Roosevelt. Soon the Teddy bear became one of the most cherished toys of all time.

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

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.

I shoot up out of my chair. “It’s Bree. Hide the board!” Everyone hops out of their chairs and starts scrambling around and bumping into each other like a classic cartoon. We hear the door shut behind her, and the whiteboard is still standing in the middle of the kitchen like a lit-up marquee. I hiss at Jamal, “Get rid of it!” His eyes are wide orbs, head whipping around in all directions. “Where? In the utensil drawer? Up my shirt?! There’s nowhere! That thing is huge!” “LADY IN THE HOUSE!” Bree shouts from the entryway. The sound of her tennis shoes getting kicked off echoes around the room, and my heart races up my throat. Her name is pasted all over that whiteboard along with phrases like “first kiss—keep it light” and “entwined hand-holding” and “dirty talk about her hair”. Yeah…I’m not sure about that last one, but we’ll see. Basically, it’s all laid out there—the most incriminating board in the world. If Bree sees this thing, it’s all over for me. “Erase it!” Price whispers frantically. “No, we didn’t write it down anywhere else! We’ll lose all the ideas.” I can hear Bree’s footsteps getting closer. “Nathan? Are you home?” “Uh—yeah! In the kitchen.” Jamal tosses me a look like I’m an idiot for announcing our location, but what am I supposed to do? Stand very still and pretend we’re not all huddled in here having a Baby-Sitter’s Club re-enactment? She would find us, and that would look even worse after keeping quiet. “Just flip it over!” I tell anyone who’s not running in a circle chasing his tail. As Lawrence flips the whiteboard, Price tells us all to act natural. So of course, the second Bree rounds the corner, I hop up on the table, Jamal rests his elbow on the wall and leans his head on his hand, and Lawrence just plops down on the floor and pretends to stretch. Derek can’t decide what to do so he’s caught mid-circle. We all have fake smiles plastered on. Our acting is shit. Bree freezes, blinking at the sight of each of us not acting at all natural. “Whatcha guys doing?” Her hair is a cute messy bun of curls on the top of her head and she’s wearing her favorite joggers with one of my old LA Sharks hoodies, which she stole from my closet a long time ago. It swallows her whole, but since she just came from the studio, I know there is a tight leotard under it. I can barely find her in all that material, and yet she’s still the sexiest woman I’ve ever seen. Just her presence in this room feels like finally getting hooked up to oxygen after days of not being able to breathe deeply. We all respond to Bree’s question at the same time but with different answers. It’s highly suspicious and likely what makes her eyes dart to the whiteboard. Sweat gathers on my spine. “What’s with the whiteboard?” she asks, taking a step toward it. I hop off the table and get in her path. “Huh? Oh, it’s…nothing.” She laughs and tries to look around me. I pretend to stretch so she can’t see. “It doesn’t look like nothing. What? Are you guys drawing boobies on that board or something? You look so guilty.” “Ah—you caught us! Lots of illustrated boobs drawn on that board. You don’t want to see it.” She pauses, a fading smile hovering on her lips, and her eyes look up to meet mine. “For real—what’s going on? Why can’t I see it?” She doesn’t believe my boob explanation. I guess we should take that as a compliment? My eyes catch over Bree’s shoulder as Price puts himself out of her line of sight and begins miming the action of getting his phone out and taking a picture of the whiteboard. This little show is directed at Derek, who is standing somewhere behind me. Bree sees me watching Price and whips her head around to catch him. He freezes—hands extended looking like he’s holding an imaginary camera. He then transforms that into a forearm stretch. “So tight after our workout today.” Her eyes narrow.

Fat is able to exit your cells primarily through the actions of three enzymes called hormone sensitive lipase (HSL), monoglyceride lipase (MGL), and adipose triglyceride lipase (ATGL). Each of these enzymes are like little ushers that help move fat out of your cellular theater after the show is over. Again, without them, the fat would just stay seated in the cell taking up space. Now, the head usher responsible for the mobilization of free fatty acids from adipose tissue (i.e., lipolysis) is considered to be HSL. It’s more easily acted upon by hormones we can influence (thus the name hormone-sensitive), so, for our enzymatic fat loss communication, that’s where we’re going to put our focus. HSL is an intracellular lipase that has broad substrate specificity (meaning it can break down all kinds of fat). If you watched the cartoon Scooby-Doo when you were younger, you probably remember a time or twenty that someone in the crew had a “skeleton key” that was able to unlock any random door they wanted to get into. While other enzymes are like specialized keys that can break down one type of fat, HSL is like a skeleton key that can open the door to break down many types of fat.

In a hash-energized moment, he came up with the idea of transforming the live action film into an animated musical, interspersing musical set pieces with the tale of a family of cartoon mice.

Hopkins’s real mission was the development of biochemistry as an experimental discipline, with its own methodology and way of seeing the world. It was vibrant and fun. The lab’s journal, Brighter Biochemistry, included compilations of verse (Haldane wrote an annual report in rhyming couplets), exam questions from the future, cartoons and cautionary tales, such as laments for ‘Jane who had no bacteriological technique and so perished miserably’ and ‘Belinda who broke everything and left the laboratory under lamentable circumstances.’ Don’t be fooled by their irreverence. These were serious minds at play, and Hoppy’s laboratory nurtured some of the most imaginative and original scientists of their generation, including a number who went on to win Nobel prizes.

But he wasn’t procrastinating because he didn’t want to work on the friar’s painting. No. A masterpiece did not pop immediately to mind. He had to knead the problems like dough: how could the Virgin’s face fulfill classical expectations of beauty, yet surprise the viewer with the unexpected; how could each of the figures maintain their separate identities, yet intertwine into a single whole; how could he transform a few scratches of lines on paper into a living, breathing, complex organism? Creating new life took time. Now that his first year was almost up, Leonardo needed to convince the friars to let him stay. He had barely made any progress on human flight. Relocating now would interrupt his experiments. He had to prove that he was not only working on the altarpiece, but that a painting by him would be worth the wait. So, for the last two weeks, he had been displaying his design to the public, and now he had invited the friars up to witness the spectacle. As the song came to an end, Leonardo stepped onto a raised platform next to a large panel covered in a piece of black velvet. He raised his hand with a flourish, and Salaì yanked off the cloth. His cartoon, the life-sized preparatory drawing for the altarpiece, was displayed on a gilded pedestal. Candlelight illuminated the charcoal and chalk sketch on thin, tinted paper. The picture was of St. Anne, the Virgin Mary, John the Baptist, and baby Jesus, all interconnected in a surging, pyramidal composition. The four figures were vibrant, their faces the ideal of classical beauty. He’d spent months dreaming up that image before putting it down on paper, so when he’d finally started sketching, the lines seemed to appear in a flash. Like his performance that night, it was all part of his show. Let the people think the design had arrived complete and perfect, as if sent by God himself.

and he was voicing Unicron in my favorite cartoon, Transformers: The Movie.

Stanislav Grof drew a cartoon showing a bearded yogi with a loincloth who was hanging upside down from a tree. Sitting under the tree was a man in a straightjacket who was saying, “Why do they call you a mystic and me a psychotic?” The yogi answers, “A mystic knows whom not to talk to.”(

Google was a company that’d made more money off advertisements than any other company in the history of the world, but it had been founded by people who were embarrassed by a business model dependent upon advertising lawn chairs, car insurance, and Viagra. To deflect the embarrassment, the company cloaked itself in an aura of innovation and some old bullshit about the expansion of human knowledge. Google maintained this façade by providing web and mobile services to the masses. The most beloved of these services was the near daily alteration of the company’s logo as it appeared on the company’s website. Almost every day, the Google logo transformed into cutesy, diminutive cartoons of people who’d done something with their lives other than sell advertisements. These cartoons were called Google Doodles. They encompassed the whole spectrum of achievement, with a special focus on scientific achievement and the lives of minorities. In its own way, this was a perfect distillation of politics in the San Francisco Bay Area. Whenever they appeared, the Google Doodles were beloved and celebrated in meaningless little articles on meaningless little websites. They were not met with the obvious emotion, which would be total fucking outrage at a massive multinational corporation co-opting a wide range of human experience into an advertisement for that very same corporation. Here was the perversity of Twenty-First-Century AD life: Native-American women had a statistically better chance of being caricatured in a Google Doodle than they did of being hired into a leadership position at Google. And no one cared. People were delighted! They were being honored! By a corporation!

Leonardo built an ingenious scaffold in the Hall of Five Hundred that could be raised or folded in the manner of an accordion. This painting was to be his largest and most substantial work. Since he had suffered an almost disastrous experience in fresco painting with The Last Supper, he wanted to apply oil colours on the wall. He began also to experiment with a thick undercoat, which after he applied the colours, the paint began to drip. Trying to dry the painting in a hurry and save whatever he could, he hung large charcoal braziers close to the painting. Only the lower part could be saved in an intact state. But the upper part did not dry fast enough and the colours intermingled. Leonardo then abandoned the project. Michelangelo and Leonardo’s unfinished paintings adorned the same room together for almost a decade (1505-1512). The cartoon of Michelangelo’s painting was cut in pieces by Bartolommeo Bandinelli out of jealousy in 1512. The centrepiece of The Battle of Anghiari was greatly admired and numerous copies were made for decades. In the mid-16th century (1555-1572), the hall was enlarged and restructured by Vasari and his helpers, so that Grand Duke Cosimo I could hold his court in the chamber. During this transformation, several famous, but unfinished works were lost, including The Battle of Cascina by Michelangelo and The Battle of Anghiari by Leonardo.

King Faisal’s Islamic initiative was a success. He transformed the status of Jerusalem from an Arab–Israeli issue into a pan-Islamic one. More importantly, he created an Islamic Block, based in Saudi Arabia and operating through the Organization of Islamic Cooperation (OIC) and the Muslim World League, which consistently supported Saudi foreign policy objectives. In 2005, the OIC adopted King Abdullah’s proposal for peace with Israel as the policy of fifty-six Muslim countries. In 2020, the organization has permanent delegations to the United Nations and the European Union. Although Jerusalem remained the OIC’s primary focus, Muslim foreign ministers have presented unified positions at the UN on issues ranging from Iraq’s invasion of Kuwait to the Charlie Hebdo cartoons and the Syrian Civil War.

I have now scoured your Internet, and have identified several ersatz concierges that were created by your own society, and are in current and active use throughout it. I strongly suggest that you allow me to import and implement one of them.” I caught Manda’s eye. She shrugged. “Sure,” I said. “Earth’s most popular ersatz concierge has had hundreds of millions of users—although its usage has declined rather dramatically in recent years. Shall we try that one?” I really, really, really should have asked why the thing was shedding users. Instead I shrugged and said, “Why not?” The dazzling, octodimensional projection instantly transformed into a flat rendering of a paperclip with googly eyes. “That’s an ersatz concierge?” Manda whispered after a shocked silence. “Dear God …” As she said this, the paperclip’s eyes darted cunningly from side to side. Then a cartoon bubble appeared above its head reading, “It looks like you’re writing a letter. Would you like help?” It was Clippy—the despised emcee of Microsoft Office. I knew him well. Because while he had allegedly retired long ago, my firm—like so many others—had clung to the Clippy-infested Windows XP operating system for years beyond its expiration date, staving off the expense and trauma of a Windows upgrade. That process had finally started eighteen months back. But copyright associates are low in the priority queue—and I had been slated to get upgraded “next month” for as long as I could remember. “Okay, go back,” I said. Clippy stared at me impassively. “Stop it. Cut it out. Go back. Use the other interface. Use the gem thing.” As I said this, Clippy’s eyes started darting again as he scribbled on a notepad with an animated pencil. Another cartoon bubble appeared. “It looks like you’re making a list. Should I format it?” I fell into an appalled silence. Then Manda gave it a shot. “We do not want to use this ersatz concierge,” she enunciated clearly. “Please return us to the previous one.” Clippy gazed back with bovine incomprehension. We went on to try every command, plea, and threat that we could think of. But we couldn’t get back to the prior concierge. Luckily, the stereopticon’s projector mode was still working fine (“If you download Windows Media Player, I’m throwing you under a bus,” Manda warned it).