I want to believe in Gravity Falls. Disney is such a giant evil corporation that only by mistake brings good to the world. Extremely calculating and often soulless, as a corporation should be, but nonetheless. Its gigantic dark tower is painted with all the colors of the rainbow. Her whips-armed overseers use their weapons solely to perform magic tricks in the best Indiana Jones tradition. Its suffocatingly small workers’ cabins are in fact more spacious than the Tardis. Her most important blockbusters are directed by Joss Whedon.
Her full-length cartoons try to instill a love of video games in little lovers of pink and sweets. Also her cash investment is the main hope for the whole world to get something worthwhile with the “Star Wars” trademark on board, and even to resurrect a number of cult quest episodes of the old LucasArts. And her cartoons are one of the main sources of animated positives on this side of My Little Pony. And until recently, making the last statement was, frankly, blatantly impudent – you won’t be full with Phineas and Ferb alone. But then Disney got Gravity Falls.
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Imagine that the X-Files was filled with humor, moved the action to a small town in the spirit of Twin Peaks, made the characters younger and more interesting, diversified the stories with a bit of purely cartoon movie madness – and voila, you just got a pretty good idea of what is Gravity Falls. But we, of course, will not stop there.
From week to week, brother and sister Dipper and Mabel, who came to visit their great uncle Stan for the summer holidays, are faced with something paranormal. That with a copier that allows you to create copies of living people. Then with a horde of gnomes who dream of finding a minor queen; so that she gives birth to children for them (strange things are censored now, very strange). Then paradoxes move in time and chemistry.
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