Them's Seeing Ponies

Amen. In particular, the episode's dour tone always came off as absurd and credibility-undermining to me in light of the fundamentally fanservice-laden nature of the plot (given that over two-thirds of the runtime is essentially consumed by Twilight and Spike visiting 'parallel universes' resembling lame fanfiction over progressing any form of point beyond the bizarrely deterministic focus on the M6's ability to effectively weaponize their friendship, which is oddly equated to a generic 'friendship is necessary' moral) essentially embodying the worst aspects of Meghan McCarthy's otherwise variably decent-to-good tenure.

You're speaking as if these opinions are objective - while a number of 'fans' of both shows may be largely dictated by their own nostalgia in 'positively' reviewing the show, I wouldn't automatically assume that this indicates a dearth of people who enjoy them on their own terms, which both shows, given their relatively low narrative ambitions, actually achieve reasonably well (particularly given that both shows, if you've seen enough '80s animation, were far from the worst in the toyline-plugging category - Charmkins? Potato Head Kids? MoonDreamers? That weird Ruby-Spears show about the Rubiks Cube?), although the proportion is likely numerically lower than the fanbase for the more recent show.

An Avengers rip-off featuring the Flintstones in particular would be golden for all the wrong reasons.

The conceit of a 'Hanna-Barbera expanded universe' itself evokes more the air of a deliberately absurd parody of a cash-in on the success of Marvel than a legitimate film series which WB have presumably invested millions into. Definitely anticipating "Jabberjaw: Endgame" in ten years!

I'm able to grant the Railway Series a degree of lenience in regards to TFC's sternness - if one considers the context that the earliest books were published during the mid-40s (when the UK were a leading imperial power which promoted order and authority of a stricter ilk than today, presumably in light of the harsh, winding road that was early 20th-century society), his behaviour was basically a product of its time; I can only assume it wasn't penned in a consistently critical light but as merely a 'fact of life' ("my doctor has forbidden me to push" notwithstanding), regardless of the unfortunate implications this dredges up seven decades in hindsight (and most likely beyond Awdry or the '40s readership's intent). In regards to flanderizing the motives for Henry's iconic tunnel fiasco into a legitimate phobia of rain merely in a desperate attempt to market him simplistically as 'the nervous one', however... I can't exactly forgive that with the same ease. 

 I guess Hank's now fighting evil by moonlight and selling propane and propane accessories by daylight.

You gotta hand it to Sailor...uh, Hill, though, he works for a livin', and I don't mean sittin' down writin' gobbledegook. 

And desperately attention-seeking?

Because the new show has its own noticeable set of prominent faults (irritating characterization and garish anime-ersatz aesthetic among them) as well? It may feature more genuine narrative development and ambition than its toyetic predecessor, but I can understand why some may see it as such.

Honestly, both the prequels and sequels fall short in different ways. The prequels contain far more compelling and ambitious themes and concepts enclosed in (almost laughably at times) incompetent filmmaking and lacklustre scripting (to the point of obstructing characterization), whereas the sequels are slicker and more structurally competent at executing filmmaking basics (such as recognizable plot structure, at least mostly) but feel homogenized (see also the extraneous fanservice in VII and IX and the overly obvious comedy than begins to eventually rear its head) and poorly planned - it's more watchable than the prequels, but somehow also more insidious. 

C.E.D'oh was also... not good, but the Carl/Lenny gag in the gif above, while kind of overly illogical and easy, was easily one of the most memorable tidbits.

Although I typically refrain from supporting judgement of a film based wholly upon word of mouth, I agree that the sequel trilogy in general has been a disappointing experience - they generally don't flounder with the basics of filmmaking to the extent of the prequels (which were often deeply inept in that regard, almost to a laughable extent at times) but feel far more soulless in the ilk of a McDonald's product - an entity with basic external competence but dominated by both corporate compromise and a lack of tangible desire to posit a genuine creative expression (Rian Johnson definitely appears enthusiastic in the behind-the-scenes footage, yet this only occasionally registers in the finished film, and is often poorly conceived atop this) so much as scrounge the maximum volume of cash from the audience - than even the prequels (which contained their own fair share of blatant marketing), hence the sequel trilogy's noticeable lack of worldbuilding comparable to its predecessors (yes, avoiding the politic-laden focus of the prequels was a valid move, but ignoring the background of the setting altogether (particularly when establishing the formation and position of the First Order, which the trilogy neglects visibly) is simply an exchange of one issue for another), lack of a clear through-line plot (the cause of the two films of radically differing setups we received) and fanservice (the majority of which is little more than a desperate plea to appease established fans regardless of how much the films attempt to masquerade them as 'symbolism' or some greater thematic cog). 

I'm not claiming that the sequels lack redeeming value - both films contain a number of compelling isolated ideas and I understand aspects of Rian Johnson's intent in Last Jedi (despite his use of this ideology coming off as more of an excuse to dismantle the sequel hooks in Force Awakens and thus appear 'subversive' as opposed to fully convey the disappointment and smaller redeeming facets of warfare) but neither of the existing films work subjectively as more than fun one-time viewing (before you begin to realize their fatal flaws, whereas the prequels, while almost entirely unconcerned with plot structure or characterization over Lucas spontaneously dumping his ideas onto the screen in a confusing and convoluted mess, contain a far more interesting and ambitious set of themes which become more apparent outside the proximity of the subpar dialogue and oversaturated CGI). I can't say I have much hope for Rise of Skywalker either.

I'm honestly surprised that no one has compiled the full set of appearances of Bugs' idiosyncratic catchphrase in video form at this point. Understandably, watching the full filmography of 164 (I believe?) shorts in addition to the various modern reincarnations WB has attempted is no lean feat, but I assume it wouldn't be entirely un-enjoyable either. 

Having viewed all 1000 of the original LT shorts as of this September (what has my life come to...?), Bugs' finest moments in general tend to stem from the mid-late '40s shorts, most notably gems such as "Easter Yeggs" ("it's the suspense that gets me!"), "Long-Haired Hare" and the 'all-out job' scatting dance from "Hot Cross Bunny" (not to mention the immortal "what a maroon!" retort, which has stuck with me through the years for some obscure reason). Ah yes, good times... contemplating on the 473 shorts remaining until the end of four long years. 

FOP in general was begin to pass its prime by season 6, but the ultimate killing blows were personally the loss of Steve Marmel (in turn costing the show much of the sharper comedy of its earlier seasons, eventually culminating in... whatever the *** "Certified Super Sitter" was) and the ceaseless addition of new characters regardless of need or context (Sparky, anyone?), which, as one would expect, eventually leading to "It's a Wishful Life" almost seeming solid compared to the staggeringly incompetent final batch of episodes produced.

So we can then assume that Viva Pinata is basically a video game about maintaining your own inhumane animal plantation? 

Isn't bird urine typically gaseous? I doubt it would register on car paint as a result, although it's entirely possible it condensed upon the car's body if the surface was a lower temperature than the surrounding air. 

iris and Cilan were effectively poor-man's renditions of Misty and Brock whom the writers mistakenly married to irritating running gags (Iris's repetitious reactions to Ash being "such a kid", which reached a saturation point ten episodes into the Best Wishes run, and Cilan inexplicably qualifying as the connoisseur of numerous mundane items despite the show never pushing the gag far enough to hit a comedic sweet spot (they should've simply rolled with him declaring himself the connoisseur of dryer lint or mud, which would have subjectively been more successfully amusing)) to the effect of costing them more well-rounded individual characters. Of course, there are definitely other aspects of BW deserving of disdain personally (Ash being reset to an incompetent novice, the overload of underdeveloped 'mons, Meowth briefly travelling with the protagonist and introducing a unique and interesting group chemistry only to drop the conceit a mere four episodes later, Ash, a trainer of technically extensive experience/achievement, being defeated by a moronic plot utility in the regional league, Team Plasma being watered down, the Team Rocket trio being surgically stripped of their individual personalities in 'compensation' for their initial increased competence, Charizard serving minimal purpose other than shallow fanservice and the wasteful Decolora arc) but I fully understand your opinion.  

Having now turfed through them, I was, as you said, unsurprised. The other files are fascinating as well, particularly the season 1 stuff.

I dare not ask how the original script for Fame and Misfortune  must read considering its infamy as an alleged victim of 'executive meddling', if Larson's later statements were anything to go by. 

I always thought the episode was flawed in other aspects - it seems so insistent on being generically 'awesome' and shoehorning in as many details it believes will impress the fandom (particularly in the final scene) as possible that the entire plot comes off as incoherent and slapdashed akin to a mid-tier fanfiction (which renders the ending's attempt to be a meaningful Aesop yet more insulting) as opposed to an actual episode of FiM, which usually displays far more creative/narrative discipline than this episode does. 

The Cutie Pox is easily one of the most negligible episodes of the series, with Pinkie's confession in the third act ("oh please make it STOP!") being the sole genuine highlight amidst the immense amounts of padding and the predictable nature of the plot.