The 2010 Super Sentai series, Tensou Sentai Goseiger featured the antagonistic cryptid-themed monster group Yuumajuu. One of their members is the bratty Waraikozou of the Gremlin, who has the secondary theme of flea. Like stereotypical gremlins, Waraikozou is capable of destroying mechanical objects. Shortly before his death, Dahl received a letter from two San Francisco children that read: “Dear Mr Dahl, We love your books, but we have a problem … we are Jews!! We love your books but you don’t like us because we are Jews. That offends us! Can you please change your mind about what you said about Jews. Love, Aliza and Tamar.” Now homeless and angry, the Gremlins vowed revenge and set about sabotaging pilots and their planes. This was proving to be a problem during World War II whenever the RAF pilots came up against the German pilots. The Gremlins seemed to be as much their enemy as the Germans. Artist Bill Justice—who took the lead illustrating the Gremlins—later told historian Jim Korkis that “Roald Dahl was a ruggedly handsome man and a war hero… Once he offered to drive me to a meeting and promptly started down the left side of the street! From then on, I drove!”

In Heroes of Might and Magic 3, gremlins are first-level recruitable creatures from the town, Tower. In 1963, a Twilight Zone episode, starring William Shatner, was dedicated to Gremlins dismantling an airliner during flight: "Nightmare at 20,000 Feet." The story of the The Gremlins concerns the mischievous mythical creatures of the title, often invoked by Royal Air Force pilots as an explanation of mechanical troubles and mishaps. In Dahl's book, the gremlins' motivation for sabotaging British aircraft is revenge of the destruction of their forest home, which was razed to make way for an aircraft factory. The principal character in the book, Gus, has his Hawker Hurricane fighter destroyed over the English Channel by a gremlin, but is able to convince the gremlins as they parachute into the water that they should join forces against a common enemy, Hitler and the Nazis, rather than fight each other. Source: Wikipedia The 1944 romantic comedy Johnny Doesn't Live Here Anymore had animated gremlins with an uncredited Mel Blanc providing the voice. mazo un savdabīgo grāmatiņu, kas droši vien visinteresantākā ir no literatūras un 2. pasaules kara vēstures skatpunkta, uzgāju, pateicoties GR grupai. "Gremlini" ir pirmā Roalda Dāla grāmata bērniem, ko viņš uzraksta kara laikā, pats būdams pilots Karaliskajos gaisa spēkos. (Nākamā viņa bērnu grāmata iznāks tikai 60. gados.) Savukārt gremlini (un fifinellas) ir nevis viņa izdomāti, bet pilotu sadzīves folklorā radušies mazi un ragaini nejauceņi, kas atbildīgi par visādām nebūšanām, pazušanām un sabojātām mantām lidmašīnās un ap tām.In observance of National Aviation Day, here is the soaring tale of how a filmmaker and a flyer formed an unlikely partnership as storytellers: Walt Disney and Roald Dahl.

Most of the author’s time in Burbank was spent developing the book—Dahl’s first published work for children—which was ultimately released by Random House the following year. He also consulted with Walt on the feature film story, at that time still planned to combine live-action and animation, perhaps utilizing new photographic processes similar to those soon developed for combination sequences in The Three Caballeros (1945). Formerly in the prima forest and swamps of England, later in hangars (the Spandules, a different breed of Gremlins, live in clouds) Critics of this idea state that the stress of combat and the dizzying heights caused such hallucinations, often believed to be a coping mechanism of the mind to help explain the many problems aircraft faced whilst in combat. In addition to his novels, Dahl wrote extensively for film and television. Like Dahl’s novels and short stories, his screenplays run the gamut of adult thrillers and children’s fantasy. In 1961, Dahl wrote for and presented the 1961 science fiction anthology television series “Way Out” for the BBC. He collaborated on the script for the James Bond movie “You Only Live Twice” (1967) and the musical family film “Chitty Chitty Bang Bang” (1968). He also contributed to the screenplay for the 1971 film adaptation of Charlie and the Chocolate Factory (called “Willy Wonka & the Chocolate Factory”). In 1979, the BBC adapted Dahl’s short story collection, Tales of the Unexpected, into an anthology television show that coincided with the book’s release. There was no time to rest as Dahl’s availability was limited, and he was promptly taken to the Disney Studios where he met with Walt. “His room itself is very magnificent,” Dahl wrote to his mother, “with sofas, armchairs, a grand piano, and [his secretary] Dolores [Voght Scott] serving coffee or drinks the whole time.”In this most beautiful green wood there lived a tribe of funny little people who were quite different from the rest. They had funny horns growing out of their funny heads and funny boots on their funny feet, and with these boots – and this was funniest of all – they could walk upside down under the branches of the trees. Oh, it was a happy and peaceful life that these little men led – until the humans came.” Those prejudiced remarks are incomprehensible to us and stand in marked contrast to the man we knew and to the values at the heart of Roald Dahl’s stories, which have positively impacted young people for generations. The 1975 Doctor Who serial " The Ark in Space" is set on a supposedly impervious, yet now decrepit space station. In it, the Doctor's companion Harry Sullivan explains the station's fate, saying, "Gremlins can get into everything, old girl. First law of the sea." Dahl, it seemed, took the fantasy of Gremlin lore—what he and others called “Gremlinology”— quite seriously. After arriving in America, he wrote a short story about the characters and attempted to get it published. “Maybe you don’t know what [Gremlins] are,” Dahl wrote to his mother in June 1942, “but everyone in the R. A. F. does. …It’s really a sort of fairy story...” I enjoy Roald Dahl's writing. I think this book marks the last of his books written for younger readers that I haven't read, and I am intending to progress to his adult fiction and read all of that, now that I have finished with this (if I can find the loose sequel anywhere, Sometime Never, I will be very happy). That being said, it is very obvious that this is his first work, and the hand of Disney is also very clear, too. It's not just in the illustrations - the very writing has a slightly saccharine taste to it, and none of the bitterness amor harshness of reality that characterises Dahl's famous work as much as nonsense words and child protagonists. It doesn't feel like it was genuinely him writing, or at least, that it wasn't exactly what he wanted to write down.