Thoughtnami™

When I created The X Bridge way back in the year 1998 (okay, it was a little over six years ago, but in web years, that's ancient), people wondered why I created a site dedicated to a block like Toonami. One of the reasons why I launched the site was because of the way the block presented itself, which was like nothing I've seen in this country . . . well, not since Sci-Fi's Animation Station block, but that's something I'll dwell on at the main site one day. When Tyler L. launched Toonami Multimedia (later Toonami Miscellanious) and Zogg started Toonami Basement that captured the on-air bumpers, idents, and openings the folks at Williams Street made, people knew that this block really had a good thing going. When Tyler and Zogg merged their sites into Toonami Digital Arsenal , the premiere destination for all multimedia relating to Toonami, the Toonami fan community were given a true digital gift that is, in fact, a historical archive of the evolution of a cable ne

. . . when the following phrase emits a chuckle out of you: Technicolor Ends Here

I mean, big time TXB update coming this Friday. You remember TXB , right? It's that lame action-oriented webpage with the sporadic updates because the webmaster doesn't have time to get online much except to post inane comments on various fan forums? Yeah, The X Bridge will have reviews, feature articles, commentaries, databases, Toonami talk, and all other sorts of things to make your head boggle. I'll also enlighten the masses about this thing called X-Ventures Comics a little more further. I would have had it up Monday, but life got complicated . . . plus I'm still editing the reviews, including this one show that has an unemployed 19-year older recruited by a toy company to wear this funky looking battle suit and living in an apartment complex filled with rivals and villians. Melrose Place meets Ultraman with a touch of Tenchi Muyo. Great show. I'll talk about it later in the week. The big upload begins later today for me for the big time update on

Back in the 80s, foreign firms began buying classic American studios like they were on fire. One of the most noteworthy purchases was Sony's purchase of Columbia Pictures from Coca-Cola (yeah, believe it or not, Coca-Cola actually owned television studios). MGM/UA was sold to everybody from Ted Turner (who actually kept the bulk of the library and animated projects) to foreign parties and back to Kirk Kerkorian, who sold it. Heck, back in the day, Kerkorian even sold the Culver City studios where MGM made their biggest films to Columbia Pictures. After months of speculation between Time Warner (who suddenly has money to actually buy companies now) and a group led by Sony including the likes of Comcast, Kerkorian stayed away from the clouds and decided that The Lion should sleep with the Lady with the Torch, merging the large United Artists/Orion/Samuel Goldwyn/American International/Polygram/post-1986 MGM libraries with the Columbia/Screen Gems/Tri-Star/Revolution Studios film a

I'm old enough to remember a time when computer-animated creations weren't prominent in feature films. I'm not talking about 3D animated films, there are plenty of those, and I don't want to give them any more press time than they already get (I'll come back to that around the time The Incredibles gets ready to premiere). Plus, Square Pictures' Final Fantasy: The Spirits Within could have did a lot better if it wasn't called Final Fantasy, especially since there was little connection to the familiar elements in the film, but that's a whole other conversation. It's been many moons since Young Sherlock Holmes, The Abyss, and T2, and CGI heroes, antiheroes, and villians are as commonplace as an unoriginal idea in films. I'm kidding about the unoriginal idea joke (to a point). If it wasn't for CGI, the Lord of the Rings trilogy couldn't possibly be made. Okay, that's a lie, it could have been made, but it would have been a dramati