Cabal

This show is supposed to be about 11-year-old children:

One doesn’t want to believe in a cabal of pedophiles but it’s hard to find an innocent explanation.

20 thoughts on “Cabal”

  1. Cop shows = bad; sexist shows promoting sexualized girls = good.
    Who is making these crazy rules?
    And of course, the Dems had an alleged rapist and serial harasser of women speak at the DNC last night (or was it the night before?), but I can’t watch that snoozefest. Check out Matt Taibbis’s twitter account for DNC bingo: https://twitter.com/mtaibbi/status/1295533338883653632
    Absolutely hilarious.

    Like

  2. On Rod’s blog, a reader linked to

    // Kids’ TV has a prn problem
    In light of Chris Savino and John Kricfalusi, it’s time to take another look at the culture surrounding children’s TV cartoons.

    So what might a young cartoon fan of today discover when they venture online to engage with their favorite show?
    Suppose a child liked the way that Batman looked in DC’s Justice League Action and wanted to find out who designed him. A quick name search on Google of the show’s lead character designer, a man who got his start at John Kricfalusi’s studio Spümcø, brings up a wall of his p
    rn artwork. Meanwhile, the creator of Cartoon Network’s Mighty Magiswords currently follows prn artists and erotic models on his professional Twitter account that he uses to interact with fans. Because Twitter has spent years training its algorithm to close the gap between people you follow and the accounts they follow — whether through “Like” histories or random recommendations—this is enough to send such content into a kid’s feed.

    Today, creators of sexual or outright p
    rngraphic fan works based on children’s TV often mingle with the official production staff. Consider Mike Inel: his hit video “What if ‘The Amazing World Of Gumball’ was an anime” boasts 33 million views and an endorsement from showrunner Ben Bocquelet himself. What Bocquelet may not have known is that Inel (aka manyakis) also openly has a career making hardcore prn based on Gumball, Gravity Falls — particularly 12-year-old protagonist Mabel Pines — and many other children’s TV properties.

    While Inel remains firmly in the fan community, other creators of unsettling prn are making the leap directly into children’s TV animation. In fact, artists who cut their teeth participating in the darker side of the internet now make up a sizable portion of the talent pool that networks draw from.

    The public flirtation of children’s media with artists like these doesn’t just risk exposing kids to p
    rn — it normalizes the entire idea of hypersexuality being present in children’s spaces, often in its most extreme forms. The trends I’ve described above are larger than any person or group of people in the children’s animation industry. It’s a systemic problem that will only grow if it’s left unaddressed.

    Just business

    The spread of prn based on children’s shows, and the upcycling of prn artists from this scene into mainstream children’s animation, isn’t some kind of grand conspiracy. It’s mostly the byproduct of what was simplest from a business perspective.

    View at Medium.com

    Liked by 1 person

  3. How the film director, “a French screenwriter and filmmaker of Senegalese descent ,” Maïmouna Doucouré describes her goal of her debut film Cuties:

    // Cineuropa: How was the idea for Cuties born?

    Maïmouna Doucouré : The day I saw, at a neighbourhood party, a group of young girls aged around 11 years old, going up on stage and dancing in a very sensual way while wearing very revealing clothes. I was rather shocked and I wondered if they were aware of the image of sexual availability that they were projecting. In the audience, there were also more traditional mothers, some of them wearing veils: it was a real culture shock. I was stunned and I thought back to my own childhood, because I’ve often asked myself questions about my own femininity, about evolving between two cultures, about my Senegalese culture which comes from my parents and my western culture. But I needed the 2020 version of that youth, so for a year and a half, I stopped groups of young girls in the street, sometimes in schools or when organisations opened their doors to me. I recorded them or filmed them when I had their parents’ authorisation, and I gathered their stories to find out where they situated themselves as children, as girls, as future women; how they placed themselves in society with their girlfriends, their families, at school, with social networks. All these stories fed into the writing of Cuties.

    Cineuropa: You denounce the impact of social media at that age.

    Maïmouna Doucouré : During my research, I saw that all these young girls I’d met were very exposed on social media. And with new social codes, the ways of presenting yourself change. I saw that some very young girls were followed by 400,000 people on social media and I tried to understand why. There were no particular reasons, besides the fact that they had posted sexy or at least revealing pictures: that is what had brought them this “fame.” Today, the sexier and the more objectified a woman is, the more value she has in the eyes of social media. And when you’re 11, you don’t really understand all these mechanisms, but you tend to mimic, to do the same thing as others in order to get a similar result. I think it is urgent that we talk about it, that a debate be had on the subject.

    https://cineuropa.org/en/interview/390968/

    Like

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