The Four Color Media Monitor

No Film School spoke with one of the writing staff members on the X-Men '97 cartoon named Anthony Selitti, who sure makes clear what kind of people see themselves entitled to Lee/Kirby's Silver Age team title creation. At the beginning, there's also quite a sugarcoated comment made:

Which is why it's such a delight that its sequel series, Marvel Animation's X-Men 97', is so damn good it's almost hard to believe. And, in our state of blockbuster super hero malaise, so refreshing to see such a great comic book adaption.

Oh, no doubt, their writer said that most deliberately. Even though Rogue's character design was watered down so badly. So it's okay to depict more bloodshed and profanity. But for a girl like Rogue to be sexy is not allowed. That's classic moral hypocrisy right there. They must also be using the now deteriorating state of comics movies to cover their tracks, even though this cartoon already suffers some of the same problems that affected the live action films. And then, here's a bit of the interviewee's background:

"I came to the X-Men at a really young age.

I'm from Staten Island and I grew up gay and in the closet, and the original X-Men show really meant a lot to me—it was my portal into what that world was and the comic books and the idea of found family and acceptance, and all that really resonated me with me. I think a lot of my storytelling instincts came from X-Men and from the comics, and I just really dove into that world.

I just don't understand how people like him see creations like these as literally reflecting his mindset but nobody else's. Or, it's an embarrassing disgrace they do, mainly because quite often these days, LGBT practitioners seem to be the only ones who make such a big deal out of the X-Men "representing" their ideology, while nobody else seems to say if they think it serves as a good metaphor for being Israeli, Hungarian, Tanzanian, Thai, or Uruguayan. And maybe people of such nationalities should, if only to counter this reprehensible LGBT propaganda that's become a sad staple in modern times.

As I started to write and make shorts and direct on my own, I was finally in a place where I was lucky enough to come work on the show and bring my own sensibility to the X-Men."

And if the Morph mess says something, he sure did, as much as Beau deMayo, who comes up next:

"[The writer's room was] three of us ultimately, so it was like ... Well, we really just felt like as fans of the original show, it was this amazing dream to pick up this baton and try and carry forward what we thought would be meaningful.

The 90s was such an amazing time in comics, and Beau [DeMayo], the head writer, definitely had a firm idea of things that he wanted to explore, and we wanted to hit some of the untouched Chris Claremont era stories that the old show really hadn't had a chance to get to yet, but not play karaoke with them—to sort of have them serve this larger narrative that was moving this thematic argument forward.

Again, he sure did, and they certainly put forth what they - and they alone - considered "meaningful". Including the themes, no doubt. And where else did they draw ideas from?

"We pulled some stuff from the Graham Morrison 2000s era. We also talked about how the Lewalds, when they did the original show—and just to say, Eric and Julia Lewald are the sweetest human beings in the world. They took the Claremont-era stories, but also took stuff that was happening in the modern comics around them at the time in the 90s, and folding that into the show.

So we also looked a little bit to Morrison and the 2000s era, taking some of the DNA of those stories, but wrapping it in the 90s style in a way. So that's where the attack on Genosha comes from.

The Morrison run and Fatal Attractions were very important to me as a kid. That was one of the first comics that I read, and I remember having the trading card when Wolverine gets his Adamantium pulled out, and I was like, oh my God, that could happen. Holy shit. It just stuck with me for a very long time.

To be able to write that and bring that to the screen was very cool and very weird."

I think he means Grant Morrison, and if that's whom they considered a writer worth drawing from, I guess that figures too. If they drew from Scott Lobdell's writing, even he isn't exactly considered an auteur by today's standards, and last time I looked, hasn't been involved with the X-Men for over 2 decades. It was decidedly insulting to the intellect how, in Morrison's run, Genosha was destroyed only for the sake of getting rid of what Quesada and company apparently believed was "too many mutants", even though it could all phased out without resorting to mass slaughter.

This information suggests X-Men 97 suffers from being run by the same kind of people who also produced the recent Frog & Toad cartoon, and turned it into a self-indulgent celebration. Goodness knows how many more of these franchises are being put in the hands of such woke ideologues, who then proceed to turn them into something representing their own selfish, entitled beliefs. Exactly why there's no point tuning in to view these on TV, let alone streaming services.

Labels: animation, golden calf of death, golden calf of LGBT, marvel comics, misogyny and racism, moonbat writers, msm propaganda, politics, violence, women of marvel, X-Men