Robot Chicken made a sketch based on Angry Birds, specifically the original game.In the sketch, Red happily drives home to see his wife, Ruby, cheating on him. Red later goes to work and his boss, Bomb, fires him for being late. Later that day, he hears on his car radio and on television that the Pigs have begun taking over the land, claiming "this land is for the pigs, not for the birds!". The next day, Red's house is repossessed and his family have distanced themselves from him. Because of this, Red begins to feel an immense amount of anger. Red rallies up a group of other angry birds to take down the pigs. Red is loaded into a slingshot and launches at a pig structure as the narrator says that "the Bird Revolution had finally begun". However, Red bounces off the structure dealing no damage as the entire sketch is revealed to be on someone's phone.
In discussing the qualities requisite in a fairy storyto make it a pedagogical treasure, Wilmann says:[1]"When it is laid down as a first and indispensablerequirement that a story be genuinely childlike, thedemand sounds less rigorous than it really is. It is[Pg 50]easier to feel than to describe the qualities which lendto a story the true childlike spirit. It is not simplicityalone. A simple story that can be understoodby a child is not on that account childlike. Thesimplicity must be the ingenuousness of the child.Close to this lies the abyss of silliness into whichso many children's stories tumble. A simple storymay be manufactured, but the quality of true simplicitywill not be breathed into it unless one can drawfrom the deeper springs of poetic invention. It isnot enough that the externals of the story, suchas situation and action, have this character, but thesensibilities and motives of the actors must be ingenuousand childlike; they should reflect the child'sown feeling, wish, and effort. But it is not necessaryon this account that the persons of the story bechildren. Indeed the king, prince, and princess, ifthey only speak and act like children, are muchnearer the child's comprehension than any of thechildren paraded in a manufactured story, designedfor the 'industrious youth.' For just as real poetryso the real child's story lies beyond reality in thefield of fancy. With all its plainness of thought andaction, the genuine child's story knows how to takehold of the child's fancy and set its wings in motion.And what a meaning has fancy for the soul of thechild as compared with that of the adult. For usthe activity of fancy only sketches arabesques, asit were, around the sharply defined pictures of reality.[Pg 51]The child thinks and lives in such arabesques, andit is only gradually that increasing experience writesamong these arabesques the firmer outlines of things.The child's thoughts float about playfully and unsteadily,but the fairy tale is even lighter wingedthan they. It overtakes these fleeting summer birdsand wafts them together without brushing the dustfrom their wings.
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