The next Pixar thing is called Elemental, which is about a mixed society with beings made of air, water, fire, and earth. (Insert The Last Airbender joke here.)
It's being directed by Peter Sohn, aka the guy who did The Good Dinosaur, which in case you've forgotten (you almost certainly did) answered the question "what if the dinosaurs never died" in the most boring way possible. So who knows if it'll be any good.
so many questions...
Was the original title 'the Humors"?
Is the main antagonist Antoine-Laurent de Lavoisier?
Is there a character called 'Surprise'?
They always explain things to Dear Watson.
Also nobody makes it to junior high/middle school.
The next Pixar thing is called Elemental, which is about a mixed society with beings made of air, water, fire, and earth. (Insert The Last Airbender joke here.)
It's being directed by Peter Sohn, aka the guy who did The Good Dinosaur, which in case you've forgotten (you almost certainly did) answered the question "what if the dinosaurs never died" in the most boring way possible. So who knows if it'll be any good.
I feel like I should be talking to my lawyer or my embassy.
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HAIL HYDRA
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Munkus BeaverYou don't have to attend every argument you are invited to.Philosophy: Stoicism. Politics: Democratic SocialistRegistered User, ClubPAregular
They had me at Ming Na Wen
They double had me at James Wong.
Humor can be dissected as a frog can, but dies in the process.
At this point i'm honestly assuming that Young Justice is cancelled given S4 is nearly over and we still dont have even a whisper of S5 being confirmed. Which really sucks, but hey.
At this point i'm honestly assuming that Young Justice is cancelled given S4 is nearly over and we still dont have even a whisper of S5 being confirmed. Which really sucks, but hey.
At this point i'm honestly assuming that Young Justice is cancelled given S4 is nearly over and we still dont have even a whisper of S5 being confirmed. Which really sucks, but hey.
Yeah, that's what kinda clinched it for me - if he's not sure, at this point in the season, despite by all reports S4 pulling a bigger audience than ever?
It's not fucking happening (Or it'll be a miracle if it does). Which sucks, but it's also what it is.
At this point i'm honestly assuming that Young Justice is cancelled given S4 is nearly over and we still dont have even a whisper of S5 being confirmed. Which really sucks, but hey.
Yeah, that's what kinda clinched it for me - if he's not sure, at this point in the season, despite by all reports S4 pulling a bigger audience than ever?
It's not fucking happening (Or it'll be a miracle if it does). Which sucks, but it's also what it is.
As I recall, Young Justice S4 wasn't ordered until a few months after S3 ended, so there's still hope.
But if Young Justice is cancelled, I'll have little reason to keep my HBO Max subscription. Harley Quinn is fun, but I'd like to have at least one series that is at all tonally similar to the comic book universe it's based on. Batman: Caped Crusader is more Batman, a well that has run bone dry. My Adventures With Superman might be the closest to what I'm actually looking for, but the decision to put more spotlight on the supporting cast leaves me a bit wary.
I have zero confidence in the Tiny Toons reboot being good after the Animaniacs reboot broke my heart.
But what I consider truly unforgivable (and this applies to Disney+ as well), is Warner Media's utter failure to get their legacy animated television series onto their service in a timely fashion. The fact that Boomerang still exists as a separate service is absurd. Why are there still Kids' WB classics on Hulu and Tubi? Why are so many novel Hanna-Barbera experiments in streaming limbo?
They have until the middle of October to convince me to stay. I double they will.
The fact that Boomerang still exists as a separate service is absurd.
Why, exactly? From a branding perspective, Boomerang makes perfect sense, given that CN pivoted from being a landing spot for the cartoon library Turner purchased to actively creating new original content decades ago.
Why are there still Kids' WB classics on Hulu and Tubi?
poparena pointed out why in the end of their video on Looney Tunes on Nickelodeon:
The short version: the cultural cachet of media properties like Looney Tunes came from their widespread viewing by the public, which siloing them away has harmed because of access making them not being the cultural touchpoint for modern generations. And because that cultural cachet is extremely valuable, WB has been quietly resyndicating the popular parts of their library to protect it.
Why are so many novel Hanna-Barbera experiments in streaming limbo?
They have until the middle of October to convince me to stay. I double they will.
Because we as Western animation buffs don't pay the freight, and never will - there's just not enough of us to do so. And given that streaming as a whole is in crisis mode, and there's a viewpoint that the fire hose is Too Much right now, that's going to be even more the case.
The fact that Boomerang still exists as a separate service is absurd.
Why, exactly? From a branding perspective, Boomerang makes perfect sense, given that CN pivoted from being a landing spot for the cartoon library Turner purchased to actively creating new original content decades ago.
I'm talking about Boomerang the streaming service, not Boomerang the cable channel. Cable channels only have 24 hours to stuff shows into. Streaming services allow these massive media conglomerates to have all the content they own in one place, for one price. That's their primary advantage in the streaming war against even wealthier megacorporations like Amazon and Apple. Splitting their libraries into multiple services only makes each one less attractive to consumers.
On some level, Warner Media knows this. The first thing they did after launching HBO Max was rip all the film and television content from DC Universe and relocate it to HBO Max. But for some reason, Boomerang and Hulu linger on.
The Boomerang streaming service hasn't even had a new show added to it in three years. Warner Media has clearly lost interest in maintaining it. Which just makes it all the more ridiculous that they don't just fold its library into HBO Max and purge it.
The short version: the cultural cachet of media properties like Looney Tunes came from their widespread viewing by the public, which siloing them away has harmed because of access making them not being the cultural touchpoint for modern generations. And because that cultural cachet is extremely valuable, WB has been quietly resyndicating the popular parts of their library to protect it.
You're comparing apples and oranges. Selling the broadcast TV syndication rights to a show, while still having it on your own streaming service, is very different from giving the exclusive streaming rights of a show to a competing service that is also owned by you.
I appreciate the video though. It's good to know that cannibalizing your own consumers has been a thing since the early days of Hollywood. Jack Warner's belief that entering the television market would dilute the prestige of the Warner Brothers brand is just as stupid as modern streaming executives' belief that less content will somehow make their services more attractive.
Because we as Western animation buffs don't pay the freight, and never will - there's just not enough of us to do so. And given that streaming as a whole is in crisis mode, and there's a viewpoint that the fire hose is Too Much right now, that's going to be even more the case.
Yes, we're niche consumers. But if every service refuses to chase after anyone but the most mainstream lowest common denominator, all of them are going to fail. The smart move is to get as many of those consumers as you can while also supplementing them with a coalition of smaller, more niche demographics. This is Business 101 shit. Every streaming exec should know this by now.
HBO Max and Disney+ are in a unique position to dominate the western animation niche, however small that may be. And the best part is that they don't even need to invest in new originals to do it. They just need to upload the huge libraries of animated content for which they have already paid onto the streaming platforms that they already run. The expense would be so minimal that if all that extra content got them even just one new subscriber, it would be worth it.
But you're right. They don't give a shit about keeping people like us as subscribers. But not giving a shit is two-way street. If they don't want my money, I can find someone else who's hungrier for it.
So, in short, you have no clue what agreements are in place behind the scenes, or what the actual cost is to wind down Boomerang, among a bunch of other things - but you are absolutely certain that this is all easily remedied.
I find that view naive at best. You talk about "business 101", but one of the most basic principles of business is to not spend more to retain a customer than they will return in revenue. Furthermore, the "long tail" hypothesis which your argument is built on has been shown to have missed several aspects and made erroneous assumptions, like the cost of maintaining a long tail (turns out that it's more expensive than you'd think.)
The reality is that catering to vintage animation fans outside of a few notable franchises that have cultural cachet is a limited market, and the profit isn't there to chase that niche market - as you pointed out, there's no active development on Boomerang anymore. And with streaming as a whole in upheaval at the moment (Netflix's fuck up has been causing a (necessary, in my opinion) shake-up in the industry), the simple reality is that it will be several years before any serious attempts to capture long tail viewers will be in the cards.
the cost of maintaining a long tail (turns out that it's more expensive than you'd think.)
I'm sure the corporate beancounters would like us to believe that. But I'm not buying it. Most streaming services lavish all their money on originals. On the scale at which they operate, the cost of putting an existing show on a service and keeping it there is trivial.
The reality is that catering to vintage animation fans outside of a few notable franchises that have cultural cachet is a limited market, and the profit isn't there to chase that niche market - as you pointed out, there's no active development on Boomerang anymore.
The only thing Boomerang's failure proves is the flaws in splitting your content library over multiple services.
from a tech standpoint, the cost to move the files and redirect the traffic is minimal. Now, does it make sense to have all that content on a unified platform? I have no idea. My guess is that up front the cost didn't seem worth it. Maybe in a few more years as things continue to glob back together we'll see things more like how cable ended up.
from a tech standpoint, the cost to move the files and redirect the traffic is minimal. Now, does it make sense to have all that content on a unified platform? I have no idea. My guess is that up front the cost didn't seem worth it. Maybe in a few more years as things continue to glob back together we'll see things more like how cable ended up.
The whole issue is that the long tail hypothesis is fundamentally broken, in large part because it rests on assumptions that didn't hold - things like there being only a nominal cost to maintaining the tail, which has turned out to not be the case. To wit: the cost of maintaining a show on a streaming service, from an infrastructure standpoint, is the same regardless of whether that show is a major hit driving subscriptions, or an obscure oddity that gets occasional views.
from a tech standpoint, the cost to move the files and redirect the traffic is minimal. Now, does it make sense to have all that content on a unified platform? I have no idea. My guess is that up front the cost didn't seem worth it. Maybe in a few more years as things continue to glob back together we'll see things more like how cable ended up.
The whole issue is that the long tail hypothesis is fundamentally broken, in large part because it rests on assumptions that didn't hold - things like there being only a nominal cost to maintaining the tail, which has turned out to not be the case. To wit: the cost of maintaining a show on a streaming service, from an infrastructure standpoint, is the same regardless of whether that show is a major hit driving subscriptions, or an obscure oddity that gets occasional views.
Of course. But how great is that cost? The whole point of virtual servers etc. is that the cost should be virtually negligible, no?
1960s Velma was investigating old man McDonald who dressed up like a ghost to scare people away from his smuggling operation. 2020s Velma is investigating a murder where someone has cracked open a victim's skull and feasted on the goo inside.
So, Just got done binge watching infinity train; amazing show which of course was cancelled by HBO. Check it out if you get a chance.
Infinity Train is a special show which does a lot character development and world building with very little. Each episode is ~10 minutes and only 10 episodes per season. If you're on the fence don't let the cancellation dissuade you. Since the show is structured as an anthology series it ends on an okay note though there were some mysteries left unresolved.
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Ninja Snarl PMy helmet is my burden.Ninja Snarl: Gone, but not forgotten.Registered Userregular
1960s Velma was investigating old man McDonald who dressed up like a ghost to scare people away from his smuggling operation. 2020s Velma is investigating a murder where someone has cracked open a victim's skull and feasted on the goo inside.
In fairness, that's where all the best head goo is at.
So, Just got done binge watching infinity train; amazing show which of course was cancelled by HBO. Check it out if you get a chance.
Infinity Train is a special show which does a lot character development and world building with very little. Each episode is ~10 minutes and only 10 episodes per season. If you're on the fence don't let the cancellation dissuade you. Since the show is structured as an anthology series it ends on an okay note though there were some mysteries left unresolved.
My only caveat is that I didn't like season 4 as much as the earlier seasons. It wasn't BAD or anything, but after how hard Seasons 2 and 3 were willing to go, it felt like a step back tonally, like some executive was like, "Oh, right, we're making this for CHILDREN."
You know what? Nanowrimo's cancelled on account of the world is stupid.
Everything in this is already looking better to me than what S2 had.
3 robots return, yey!
Season 2 was just such a dreary mess. There were a couple that were fine, but it was mostly forgettable. I still just want a whole series of Sonny's Edge.
Crushed through it, every episode this season is pretty great. Final one, Jibaro, is just amazing looking. It's by the same people who did the first season's 'The Witness'.
I watched about half of Rescue Rangers and it had some funny jokes (the above spoiled one included) but I just couldn’t get into it.
I appreciate that it felt like a tribute to the Roger Rabbit movie, but it took too much joy in tearing them down like a former child star rather than embracing the nostalgia. When old balding Peter Pan with a beer gut became one of the villains I was out.
In other news since I need to talk about Owl House every week, this week reminded me that Luz and Amity are one of my favorite cartoon/anime relationships. It’s such a natural and endearing pairing!
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Munkus BeaverYou don't have to attend every argument you are invited to.Philosophy: Stoicism. Politics: Democratic SocialistRegistered User, ClubPAregular
The things I have done today will haunt me for the rest of my life.
Hoot hoot!
Humor can be dissected as a frog can, but dies in the process.
I watched about half of Rescue Rangers and it had some funny jokes (the above spouled one included) but I just couldn’t get into it.
I appreciate that it felt like a tribute to the Roger Rabbit movie, but it took too much joy in tearing them down like a former child star rather than embracing the nostalgia. When old balding Peter Pan with a beer gut became one of the villains I was out.
I say this a lot, but when I watch a reboot of something I love, I want to feel like the people making the reboot love that thing as much as I do. The last thing I want is to feel like the people making the reboot are embarrassed by that thing, or that they have a reductive and condescending attitude toward it, or that they only ironically like it because of how outdated they think it is.
But we've been seeing a lot of that kind of reboot lately. The ironic, self-aware reboot. And it's especially common for media that's very niche or socially stigmatized, such as children's cartoons. These reboots are more like parodies, emphasizing the negative aspects of the media. They aren't made for the niche audience who still love it. They're made for the mainstream audience who used to love it, but no longer do. Or at least, are no longer willing to publicly admit they do.
The so-called Rescue Rangers movie has a lot of that energy. Too much of it for me, which is why I won't be supporting it personally.
But if it makes you feel any better, just know that there were earlier drafts that took the piss even harder. The movie we got is actually the toned down version.
In other news since I need to talk about Owl House every week, this week reminded me that Luz and Amity are one of my favorite cartoon/anime relationships. It’s such a natural and endearing pairing!
I watched about half of Rescue Rangers and it had some funny jokes (the above spouled one included) but I just couldn’t get into it.
I appreciate that it felt like a tribute to the Roger Rabbit movie, but it took too much joy in tearing them down like a former child star rather than embracing the nostalgia. When old balding Peter Pan with a beer gut became one of the villains I was out.
I say this a lot, but when I watch a reboot of something I love, I want to feel like the people making the reboot love that thing as much as I do. The last thing I want is to feel like the people making the reboot are embarrassed by that thing, or that they have a reductive and condescending attitude toward it, or that they only ironically like it because of how outdated they think it is.
But we've been seeing a lot of that kind of reboot lately. The ironic, self-aware reboot. And it's especially common for media that's very niche or socially stigmatized, such as children's cartoons. These reboots are more like parodies, emphasizing the negative aspects of the media. They aren't made for the niche audience who still love it. They're made for the mainstream audience who used to love it, but no longer do. Or at least, are no longer willing to publicly admit they do.
The so-called Rescue Rangers movie has a lot of that energy. Too much of it for me, which is why I won't be supporting it personally.
But if it makes you feel any better, just know that there were earlier drafts that took the piss even harder. The movie we got is actually the toned down version.
The Ducktales reboot is the perfect example of a reboot that was made with love by people that loved the original. It made me feel good, nostalgic, and most importantly happy to be watching it.
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They always explain things to Dear Watson.
Also nobody makes it to junior high/middle school.
I feel like I should be talking to my lawyer or my embassy.
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They double had me at James Wong.
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Even Greg Weisman isn't sure
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Yeah, that's what kinda clinched it for me - if he's not sure, at this point in the season, despite by all reports S4 pulling a bigger audience than ever?
It's not fucking happening (Or it'll be a miracle if it does). Which sucks, but it's also what it is.
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As I recall, Young Justice S4 wasn't ordered until a few months after S3 ended, so there's still hope.
But if Young Justice is cancelled, I'll have little reason to keep my HBO Max subscription. Harley Quinn is fun, but I'd like to have at least one series that is at all tonally similar to the comic book universe it's based on. Batman: Caped Crusader is more Batman, a well that has run bone dry. My Adventures With Superman might be the closest to what I'm actually looking for, but the decision to put more spotlight on the supporting cast leaves me a bit wary.
I have zero confidence in the Tiny Toons reboot being good after the Animaniacs reboot broke my heart.
But what I consider truly unforgivable (and this applies to Disney+ as well), is Warner Media's utter failure to get their legacy animated television series onto their service in a timely fashion. The fact that Boomerang still exists as a separate service is absurd. Why are there still Kids' WB classics on Hulu and Tubi? Why are so many novel Hanna-Barbera experiments in streaming limbo?
They have until the middle of October to convince me to stay. I double they will.
As someone who read the leaks weeks ago, that makes me question the quality of modern movie critics.
Why, exactly? From a branding perspective, Boomerang makes perfect sense, given that CN pivoted from being a landing spot for the cartoon library Turner purchased to actively creating new original content decades ago.
poparena pointed out why in the end of their video on Looney Tunes on Nickelodeon:
The short version: the cultural cachet of media properties like Looney Tunes came from their widespread viewing by the public, which siloing them away has harmed because of access making them not being the cultural touchpoint for modern generations. And because that cultural cachet is extremely valuable, WB has been quietly resyndicating the popular parts of their library to protect it.
Because we as Western animation buffs don't pay the freight, and never will - there's just not enough of us to do so. And given that streaming as a whole is in crisis mode, and there's a viewpoint that the fire hose is Too Much right now, that's going to be even more the case.
I'm talking about Boomerang the streaming service, not Boomerang the cable channel. Cable channels only have 24 hours to stuff shows into. Streaming services allow these massive media conglomerates to have all the content they own in one place, for one price. That's their primary advantage in the streaming war against even wealthier megacorporations like Amazon and Apple. Splitting their libraries into multiple services only makes each one less attractive to consumers.
On some level, Warner Media knows this. The first thing they did after launching HBO Max was rip all the film and television content from DC Universe and relocate it to HBO Max. But for some reason, Boomerang and Hulu linger on.
The Boomerang streaming service hasn't even had a new show added to it in three years. Warner Media has clearly lost interest in maintaining it. Which just makes it all the more ridiculous that they don't just fold its library into HBO Max and purge it.
You're comparing apples and oranges. Selling the broadcast TV syndication rights to a show, while still having it on your own streaming service, is very different from giving the exclusive streaming rights of a show to a competing service that is also owned by you.
I appreciate the video though. It's good to know that cannibalizing your own consumers has been a thing since the early days of Hollywood. Jack Warner's belief that entering the television market would dilute the prestige of the Warner Brothers brand is just as stupid as modern streaming executives' belief that less content will somehow make their services more attractive.
Yes, we're niche consumers. But if every service refuses to chase after anyone but the most mainstream lowest common denominator, all of them are going to fail. The smart move is to get as many of those consumers as you can while also supplementing them with a coalition of smaller, more niche demographics. This is Business 101 shit. Every streaming exec should know this by now.
HBO Max and Disney+ are in a unique position to dominate the western animation niche, however small that may be. And the best part is that they don't even need to invest in new originals to do it. They just need to upload the huge libraries of animated content for which they have already paid onto the streaming platforms that they already run. The expense would be so minimal that if all that extra content got them even just one new subscriber, it would be worth it.
But you're right. They don't give a shit about keeping people like us as subscribers. But not giving a shit is two-way street. If they don't want my money, I can find someone else who's hungrier for it.
I find that view naive at best. You talk about "business 101", but one of the most basic principles of business is to not spend more to retain a customer than they will return in revenue. Furthermore, the "long tail" hypothesis which your argument is built on has been shown to have missed several aspects and made erroneous assumptions, like the cost of maintaining a long tail (turns out that it's more expensive than you'd think.)
The reality is that catering to vintage animation fans outside of a few notable franchises that have cultural cachet is a limited market, and the profit isn't there to chase that niche market - as you pointed out, there's no active development on Boomerang anymore. And with streaming as a whole in upheaval at the moment (Netflix's fuck up has been causing a (necessary, in my opinion) shake-up in the industry), the simple reality is that it will be several years before any serious attempts to capture long tail viewers will be in the cards.
I'm sure the corporate beancounters would like us to believe that. But I'm not buying it. Most streaming services lavish all their money on originals. On the scale at which they operate, the cost of putting an existing show on a service and keeping it there is trivial.
The only thing Boomerang's failure proves is the flaws in splitting your content library over multiple services.
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The whole issue is that the long tail hypothesis is fundamentally broken, in large part because it rests on assumptions that didn't hold - things like there being only a nominal cost to maintaining the tail, which has turned out to not be the case. To wit: the cost of maintaining a show on a streaming service, from an infrastructure standpoint, is the same regardless of whether that show is a major hit driving subscriptions, or an obscure oddity that gets occasional views.
Of course. But how great is that cost? The whole point of virtual servers etc. is that the cost should be virtually negligible, no?
1960s Velma was investigating old man McDonald who dressed up like a ghost to scare people away from his smuggling operation. 2020s Velma is investigating a murder where someone has cracked open a victim's skull and feasted on the goo inside.
Infinity Train is a special show which does a lot character development and world building with very little. Each episode is ~10 minutes and only 10 episodes per season. If you're on the fence don't let the cancellation dissuade you. Since the show is structured as an anthology series it ends on an okay note though there were some mysteries left unresolved.
In fairness, that's where all the best head goo is at.
My only caveat is that I didn't like season 4 as much as the earlier seasons. It wasn't BAD or anything, but after how hard Seasons 2 and 3 were willing to go, it felt like a step back tonally, like some executive was like, "Oh, right, we're making this for CHILDREN."
I just got spoiled for the delightful cameo by Polygon's goddamn twitter feed (not even hidden behind a link), so watch this one quick.
If you really must know, it's
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Crushed through it, every episode this season is pretty great. Final one, Jibaro, is just amazing looking. It's by the same people who did the first season's 'The Witness'.
"Suggestive Themes"
Understandable. Half the characters in that picture aren't wearing pants.
In other news since I need to talk about Owl House every week, this week reminded me that Luz and Amity are one of my favorite cartoon/anime relationships. It’s such a natural and endearing pairing!
Hoot hoot!
I say this a lot, but when I watch a reboot of something I love, I want to feel like the people making the reboot love that thing as much as I do. The last thing I want is to feel like the people making the reboot are embarrassed by that thing, or that they have a reductive and condescending attitude toward it, or that they only ironically like it because of how outdated they think it is.
But we've been seeing a lot of that kind of reboot lately. The ironic, self-aware reboot. And it's especially common for media that's very niche or socially stigmatized, such as children's cartoons. These reboots are more like parodies, emphasizing the negative aspects of the media. They aren't made for the niche audience who still love it. They're made for the mainstream audience who used to love it, but no longer do. Or at least, are no longer willing to publicly admit they do.
The so-called Rescue Rangers movie has a lot of that energy. Too much of it for me, which is why I won't be supporting it personally.
But if it makes you feel any better, just know that there were earlier drafts that took the piss even harder. The movie we got is actually the toned down version.
A fan of the show made some comics the could pass for the real thing.
https://imgur.com/t/the_owl_house/EHcOqxV
https://imgur.com/t/the_owl_house/m3rCID5
https://imgur.com/t/the_owl_house/Isrq0Ok
The Ducktales reboot is the perfect example of a reboot that was made with love by people that loved the original. It made me feel good, nostalgic, and most importantly happy to be watching it.