Netflix gave carte blanche to any animator with the right connections to make their own show. which is fricking moronic because they will make their own pet projects instead of something that the audience will love.
this is completely on them though; any producer could have told them this(and probably did))
Overpromised and underdelivered.
They really could've done a better job at producing stuff made to keep audience retention more, but that would've meant abandoning the binge model. That model works for shit they licensed that already has a shitload of content, not so much for original content that has no ecosystem to breed any sort of fan discussion or hype.
Yeah just like Rothschilds are real people.
Frick off dude you heard a buzzword from /misc/ tourists who've never even looked into the thing and are regurgitating shit from random images a schizo cobbled together in mspaint.
>2022 >coming up with theories and searching for evidence to back them up instead of collecting evidence and allowing them to lead to an unbiased conclusion
"The information age" is a misnomer. The internet has not only made people dumber, but they can now create communities so they can have the confidence to be proud about it.
2 years ago
Anonymous
>cries /misc/ whenever someone shows distrust towards multinational corporations
kek
2 years ago
Anonymous
You're talking to 2 different anons.
Corporations are the fricking evil empire. I don't object to not trusting them, but I do object to making up monster stories based on hearsay, unfounded allegations, and biased sources.
Don't be so easily manipulated. If something makes you mad, sad, or fearful, you should be suspicious where that information is coming from. Eliciting an emotional response is the easiest way to get people to throw away logic. ALL political parties do this as well as bad faith actors, foreign entities, advertisers, and people who are losing an argument.
2 years ago
Anonymous
How is something like Epstein "killing himself" anything but a blatant show of power? There is no hiding required.
2 years ago
Anonymous
where the frick did that come from?
Is this how you operate in normal life? >Riding train
"YOU DON'T REALLY KNOW WHAT CHERRY PIE IS ABOUT!"
fair fricking play, crazy dude. I probably don't.
2 years ago
Anonymous
>calls someone a conspiracy nut for not trusting multinational corporation >act super defensive about the implication that multinational corporations are not honest >act like the label conspiracy nut means anything anymore since it is mixed in with "people who are paying" >reacts super negatively to someone giving an example of a very obviously true conspiracy theory
You could just read BlackRock's website about EGS score system and see nothing is being hidden. It is all coercion.
2 years ago
Anonymous
>very obviously true conspiracy theory
2 years ago
Anonymous
>Haha the elites are fricking angelrinos they would never kill a man in a cell to cover up their pedophile ring
2 years ago
Anonymous
keep changing the topic to a pedophile's death. That will make everyone believe you are lucid.
2 years ago
Anonymous
Keep misinterpreting what is said to defend your multinational corpos gay.
You think that the term "conspiracy theory" as a reason to dismiss an opinion makes you look like anything other than completely moronic normalgay.
2 years ago
Anonymous
need a safe space?
2 years ago
Anonymous
the other anon has a point
and ur a turboBlack person
2 years ago
Anonymous
>the other anon
2 years ago
Anonymous
Or take a look at the top institutional investors of virtually every S&P 500 stock.
2 years ago
Anonymous
How is something like Epstein "killing himself" anything but a blatant show of power? There is no hiding required.
kek
anon talks about how emotional arguments are often bullshit
out of nowhere: >OH YEAH, WHAT ABOUT SUICIDE THAT MIGHT HAVE BEEN AN ASSASSINATION?! ALSO PEDOPHILES!
My sides...
2 years ago
Anonymous
>OH YEAH, WHAT ABOUT SUICIDE THAT MIGHT HAVE BEEN AN ASSASSINATION?! >Might
Kek
>what went wrong
The great grandson of the man who invented the study of electrical activity in the brain got together with the great grand nephew of Sigmund Freud to start a media company and nobody batted an eye.
this. I'm actively looking for new animation and most of the time the only reason I hear of something new on Netflix is because I read about it here. I live in NYC...there are ads in the subway tunnels and on the actual train cars, on billboards, on video screens on the streets, on the sides of bus stops, in taxis, at baseball games, at the various phone charging stations around the city...Not to mention the typical places that you find everywhere else in the world. They put a billboard up in times square for Kid Cosmic during the height of the pandemic when nobody was walking through there and that's about all I've seen.
NF fricking sucks at advertising for animated shows which is stupid. They cost a lot to make, you'd think they'd spend a little bit more to actually try to get people to watch it.
First we should look at what they've actually put out:
Kid Cosmic
City Of Ghosts
We The People
Ridley Jones
Centaurworld
I Heart Arlo
Ada Twist Scientist
A Tale Dark and Grimm
Karma's World
Maya And The Three
Inside Job
Dogs In Space
The Cuphead Show
Samurai Rabbit
Dead End Paranormal Park
Which of these do you/your kids watch?
>Ridley Jones >Ada Twist >Karma's World
Edutainment shows for tiny children, so I ignored these. >Kid Cosmic
Good if flawed. >City of Ghosts >We The People
Borderline pretentious prestige projects that were never going to be popular. >Centaurworld >Dead End Paranormal Park
Not for me. >I Heart Arlo
Terrible writing that's soft and conflict-free. >A Tale Dark And Grimm
Moderately entertaining sleeper. >Maya And The Three
The visuals and pacing make it difficult to watch, I can't even assess it. >Inside Job
Solid, almost great. >Dogs In Space >The Cuphead Show
Dull. >Samurai Rabbit
Generic and cheaply executed.
Out of all of these, there is only one show I'd fully endorse, and a couple of a mid-range recommendations. But this isn't a completely terrible showing, until you figure in how much money Netflix dumped into this. (Netflix Animation had an entire building to themselves.) They did not get their money's worth.
>Disenchantment.
Why did people think this would be any good? We're way past Matt Groening's glory days, and it's not The Simpsons is getting any better
I want it to be good. It fricking sucks. The biggest failings are the inability to commit to either long form plots or episodic stories, and the pacing. Whoever edits those radio plays needs to get kicked in the groin. The jokes aren't great, but they don't have to be that bad. Whoever edits the dialogue has NO fricking feel for comedic timing, and the music doesn't help sell the comedy either (which is surprising because mothersbaugh typically nails it).
Because Futurama is awesome and Groening doesn't actually write for Disenchantment. Also, Abbi Jacobson is pretty funny. She does a decent job with Bean, but there isn't much for her to work with.
2 years ago
Anonymous
Futurama was good because it was hot off the heels of the Simpsons golden age, and had people who understand the sci-fi genre and science working on it.
Disenchantment fails at being parody of fantasy of only pretends to know anything about history or folklore to make jokes about it
2 years ago
Anonymous
yes. I fail to see how we disagree.
There's no reason to expect that Disenchantment couldn't have potentially been good.
but that was on nick's side. when the executives changed, they cancelled most of the animation related projects and focused on live action. that wasn't netflix' fault
This but also Viacom was planning to launch paramount+ and needed some nickelodeon originals
but that was on nick's side. when the executives changed, they cancelled most of the animation related projects and focused on live action. that wasn't netflix' fault
>that wasn't netflix' fault
The makers of Glitch Techs outright said it was up to Netflix whether or not the series would continue. Glitch Techs not continuing IS their fault.
true that, but the show itself was very messy and very expensive to the point that some of the crew in the show were saying it was a miracle the show was released. netflix(at the time) could have been eager to spend the same amount of cash on a proper GT season 2, but they'd have to rework the inner workings of the show to be more streamlined, and that takes time....
in an ideal world i'd say we'd have news about it later this year, but considering what happened, GT is very much dead.
>What went so horribly wrong?
Lauren Faust actually addressed some of the problems, that said it's not a Netflix problem, it's a whole US cartoon industry problem.
First off, they've chased off boys, and they are all in on video games now, they're not coming back to western cartoons, at best they will watch anime.
So they're left with girls, but they can't keep their interest either, and instead girls are watching Tik Tok while chatting with their friends, and again, at best they will watch anime.
And they just keep doing the same mistakes over and over again. Netflix made a deal to get He-Man so that they could appeal to boys again, side-lined He-Man and made it about Teela (who is now lesbian) and Evil-Lyn. Like what the frick...
here's a hard concept to grasp: get this, people might just like cartoons regardless of gender. It's always gender this and gender that, but has anyone thought that people might just like cartoons? Instead of pandering to [specific crowd] why don't companies just make what people want to see? Oh right...because that would mean admitting they are wrong about their audience and what they believe they want instead of what they actually want.
Depending on how this statement is interpretted, I agree. I honestly don't care if a character is gay or black or transgender as long as they're a good multidimensional character. The problem with the way that POC/trans/gay characters are typically written is that they are defined by their minority status.
While some characters have come under fire for being a "white cis-gendered character who happens to be black and gay" there's something to be said for characters that can be motivated by something other than their "otherness".
We're in an uncomfortable growing period where we're just starting to address issues of representation. Unfortunately, that also means we'll go through a period of sucky character writing as people try to figure out how to write these characters with subtlety and nuance.
This is the way forward, though. It's fricking moronic to bleat about "Where are my white cis males?!". Don't be mad about representation. Be mad about bad representation.
Remember when the Walking Dead show came under fire because there apparently weren't any gay people in the zombie apocalypse so we go pic related?
She fricking sucked. She was a lesbian who only ever spoke about the traditionally masculine things she did or her frustrations with being a lesbian and trying to date. She wasn't hated because she was a lesbian. She was hated because she existed to be a token.
They ended up doing a little better in subsequent seasons, but we're still in the "new braces" era of representation where our gums are sore and we keep licking our teeth. Ideally we'll eventually acclimate and we can get back to talking about which character we'd frick.
>It's fricking moronic to bleat about "Where are my white cis males?!"
No it's not. Why would you trade your large primary audience for a very miniscule audience ?
More than 90% of people are straight, whites are the majority race of people in the US, what we have now is a massive overrepresentation of blacks and LGBTQ in media, and people are tuning out since it's become pathetically obvious at this point.
People are fricking tired of seeing another crybaby story about how evil white straight people are towards minorities, because it's bullshit, these people don't want equality, they want victim status privilege.
looks like we found a "trigger".
You're vying for the gold medal in the victimization olympics so hard, you should just start a tumblr now so you can be ready for your gold medal acceptance speech.
>You're vying for the gold medal in the victimization olympics so hard, you should just start a tumblr now so you can be ready for your gold medal acceptance speech.
You just said the quiet part out loud moron.
2 years ago
Anonymous
pulled a reverse uno. It's pointing out that the pol-tards on this board like to cry about "muh white male representation" which is funny because diversity in animation is only a very recent thing. The tone deafness is astounding.
2 years ago
Anonymous
>diversity in animation is only a very recent thing
Get cancer and die
2 years ago
Anonymous
He's not wrong, no one gave a shit about diversity back then so shows couldn't get by on just having a black character or an Asian. It still had to be -good- or notable in someway other than "Look how DIVERSE we are!"
2 years ago
Anonymous
>"Look how DIVERSE we are!"
I don't see this gets brought up in any of the Disney shows Amphibia/Owl House/McGee.
I think the only times it gets brought up is when coorperations change/put in diversity for the sake of it. Like many hate the token black character in Viking School becaus A) He was originally going to be a white pointy nose boy and B) Black people in north europe/britain during viking age was barely a thing.
Other example is when they let 2 girls kiss each other suddenly with no build up to it, and it's soo sudden/fast it's obviously there to throw a bone to the gay community while they edit it out from SA/China/Mexico/Russia/etc. realeses.
2 years ago
Anonymous
Let's play a fun game. Work out when those cartoons came out. Work out how long animation has existed. Work out how many animated properties have existed since that time.
Take your tokenism back home and go frick yourself. Having one black "friend" that you hold up by the shoulders to prove that you're not racist does not prove that you're not racist.
2 years ago
Anonymous
>Work out how long animation has existed. Work out how many animated properties have existed since that time.
In the vast majority of the time US animation has existed, the US was over 90% white.
2 years ago
Anonymous
>m-muh tokenism
have a nice day you stupid troony frick
2 years ago
Anonymous
you understand how that's literally nothing compared to all the other media that was released on those years?
2 years ago
Anonymous
Yeah, it's just a small sample of how organically diverse things were before you evil marxists took over
2 years ago
Anonymous
What do you think Twitter or Cinemaphile reaction would be on the gender neutral kid episode (who get to decide what gender it want to be) from the show Lloyd in space?
good stories are good stories. It's a fricking cartoon. The character can be a green alien for all I care. I'll watch it if the character and story are good, and I'll actually enjoy it if the animation and music are awesome.
Make it a duck. Make it a fricking talking rock or a shell wearing shoes. Who gives a shit?
If representation gets more people into animation, then we all win. More patronage means more viewers, bigger budgets, and more animation. I'm on board as long as we can grow past the "gay character acts gay because they're gay and has to remind the audience that they're gay because god forbid they have a hobby" trope. That's about as good a character as "white male who acts like a white male because he's a white male and has to remind the audience that he's a white male". Who fricking likes that? Give me something to care about.
Depending on how this statement is interpretted, I agree. I honestly don't care if a character is gay or black or transgender as long as they're a good multidimensional character. The problem with the way that POC/trans/gay characters are typically written is that they are defined by their minority status.
While some characters have come under fire for being a "white cis-gendered character who happens to be black and gay" there's something to be said for characters that can be motivated by something other than their "otherness".
We're in an uncomfortable growing period where we're just starting to address issues of representation. Unfortunately, that also means we'll go through a period of sucky character writing as people try to figure out how to write these characters with subtlety and nuance.
This is the way forward, though. It's fricking moronic to bleat about "Where are my white cis males?!". Don't be mad about representation. Be mad about bad representation.
Agree, and they might like them at different gender ratios. For whatever reason, if little girls don't like cartoons as much as little boys, instead of trying to change cartoons until it's 50/50, just make more of stuff little girls do want to watch. The girls who like cartoons will watch them if you make good cartoons.
I think she's close, but no dice, her analysis is missing some key factors. IME kids don't have an issue with animated content, they just move onto anime at younger ages than suits expect. It isn't entirely correct to say that boys move onto videogames and girls onto tiktok, because I think they are drastically underestimating how badly anime eats their lunch and how young it starts.
In short, industry standards for what is acceptable to show to kids does not align with their revealed preferences. They are creating content informed by past decades of what was popular and successful, but kids in the 80s did not have nearly the same access to varied media as kids do now. Just because something was successful with kids in the past does not mean that was representative of what those kids would have chosen to watch if given more options. Previous generations of kids were captive audiences. Modern kids have netflix and hulu and crunchyroll and pirate sites and much less parental oversight over their media choices. They don't have to watch something like Owl House for lack of options. Given options those kids overwhelmingly choose against the content Western creatives and executives incorrectly surmised was geared towards them. Their entire model of what 'kids content' looks like, what it can be, what kids like, is completely and utterly incorrect, badly informed due to previous generations with no alternatives. Western media has done a lot of kow-towing to the loudest harpy Christian moms and allowed the market to be captured by Japan.
Everything about tv ratings (tv-pg, tv-y7 etc) has no basis in reality, it doesn't align with what kids actually like and no hard science to back it up, its based on what parents like and what parents feel is OK to show to their kids. But most parents don't actually care.
>Western media has done a lot of kow-towing to the loudest harpy Christian moms and allowed the market to be captured by Japan.
??? Christian moms haven't been a power in dictating media choices since the 80's, and even then they had very little impact.
The anime renessaince we're seeing now is not because
christian moms are handcuffing western media, it's because western media has gone insanely woke and thus become stale and preachy.
Anime today is a far cry from the super edgy stuff back in the 80's boom, but compared to western offerings, even a magical girl deconstruction or a vanilla isekai feels like 'exciting and edgy' compared to what you get from the west.
The initial tv age ratings were devised due to pressure from parent groups. Even if they aren't in power anymore their legacy remains. Hirsh released notes from Standards and Practices showing how Disney at least was still concerned with parents complaining. I don't think it takes a lot of parents complaining, which is where I think you're disagreeing. Networks make all sorts of moronic decisions due to complaints from less than 10 people. It just takes a handful of nosy busybodies.
Even if you showed a kid non-woke kids media from the 90s I think there's a genuinely high chance it still won't be appealing to them. It not being woke isn't enough when anime has better variety, fight scenes, character designs etc. Kid Cosmic (I only saw the first season) isn't really woke and the main character is a little blond boy. But it is rated tv-y7, when it is really better aimed at a younger audience (like ages 4 and up). 7 year olds are already watching anime and playing Call of Duty and watching Marvel Capeshit. Kid Cosmic must seem like total babyshit to actual 7 year olds.
Netflix animation has numerous fricking problems, most of them tied to with Netflix itself and how it treats all its shows, but I'll keep it focused on animation
The biggest issue with Netflix animation, and frankly the western animation industry as a whole, is that nobody knows how to write a fricking story. They fancy themselves writers, wanting to do epic stories with characters that change and grow over the course of seasons, with cheap jokes spinkled throughout, but they don't actually know what makes longform stories good.
Arcane is the ONLY modern western series that manages to do this, and guess what? Most of this writers aren't from the animation industry, they're from the game industry, with the only exception being one of the writers of Toy Story fricking 2.
The western animation industry is so ashamed at being aimed at children and wants to break, while still being forced to cater to children, and adult comedies because those are poven to sell. The issue is that nobody is trained to make those any good, you can most western animators just copy things from other sources without much thought about how or why they worked, namely anime, which I don't feel like going into right now.
Point is, that is the biggest issue here. Their overly ambitious and want to shovel everything that's "important" to them in the series to gain clout, but have no idea what it takes to make it something stand out and spectacular, or even just good.
> just copy things from other sources without much thought about how or why they worked, namely anime
I feel like anyone who's watched modern (last 10 years) cartoons understand what you mean here. They copy the style and the tropes, but not the actual art or story telling. Plenty of Eva references, but you never see an episode told visually the way Eva did, or characters developed, or silence and sound design used the way Eva did. They binged it in a weekend, got the superficial shit and then put it in their cartoons. The exception to this is the final episode of Teen Titans, which was heavily stylized, but that show was strange in a lot of ways.
I don't know if this is animation's biggest problem (as I think issues involving writing affects live-action TV and films too), but you aren't wrong. American animation is forced into kids shows or adult comedies - studios have to be tricked into greenlighting anything else.
I think she's close, but no dice, her analysis is missing some key factors. IME kids don't have an issue with animated content, they just move onto anime at younger ages than suits expect. It isn't entirely correct to say that boys move onto videogames and girls onto tiktok, because I think they are drastically underestimating how badly anime eats their lunch and how young it starts.
In short, industry standards for what is acceptable to show to kids does not align with their revealed preferences. They are creating content informed by past decades of what was popular and successful, but kids in the 80s did not have nearly the same access to varied media as kids do now. Just because something was successful with kids in the past does not mean that was representative of what those kids would have chosen to watch if given more options. Previous generations of kids were captive audiences. Modern kids have netflix and hulu and crunchyroll and pirate sites and much less parental oversight over their media choices. They don't have to watch something like Owl House for lack of options. Given options those kids overwhelmingly choose against the content Western creatives and executives incorrectly surmised was geared towards them. Their entire model of what 'kids content' looks like, what it can be, what kids like, is completely and utterly incorrect, badly informed due to previous generations with no alternatives. Western media has done a lot of kow-towing to the loudest harpy Christian moms and allowed the market to be captured by Japan.
Everything about tv ratings (tv-pg, tv-y7 etc) has no basis in reality, it doesn't align with what kids actually like and no hard science to back it up, its based on what parents like and what parents feel is OK to show to their kids. But most parents don't actually care.
is also right to a degree, although I think it ties into an issue already stated here - cartoons are seen as kiddie fare and pre-teens would rather watch more "grown-up" stuff like Descendants or Marvel. Again, if there were more adult-oriented cartoons out there, I wonder if this stigma would persist? How would something like Daria, an animated teen sitcom, fare in today's market?
What's really sad is that the "serious" series they had were marketed as """anime""" despite the fact they made in the US. Companies have no faith in American animation outside of kid shows and FG knockoffs to the point where even Disney is putting a good amount of money into anime licenses/commissioned work for their streaming service. Arcane is also funny because not only were the writers from Riot, the animation studio was French and they was financed by Riot and their Chinese parent company Tencent.
Quest for more money. They wanted to do this by increasing the income and decrease the expenses.
They decrease the expenses by shutting down projects that cost "to much" but keep the cheapest made ones. And increase income by showing said cheapest made showds or very show known IPs like Boss Baby.
>She-Ra >Love Death and Robots >Bojack >Kipo >Home >Sgt Frog >Inside Job >Castlevania >Dragon Prince >Neo Yokio >HILDA
i don't see a problem here
maybe netflix has tacitly agreed to be bought out by disney and disney bribed them to shut down their cartoon shit so more subscriptions go to the mouse
The only show on your list that's from Netflix Animation is Inside Job, which pretty much explains why Netflix Animation is failing. People don't know what Netflix Animation show is versus a licensed or co-produced show. They are unnecessary.
There is no reason for Netflix to produce its own cartoon shows if it isn't going to do merchandising. Plus, the animators at Netflix Animation worked under the incorrect assumption that they did not need to worry about their survival. They made a bunch of shows with little commercial viability, driven by artistic self-indulgence, ideological activism, and a disregard for, or simply an ignorance of, the taste of the audience. To be fair, this attitude permeated much of Netflix, not just the animation studio.
It's better for Netflix to fund third-party shows, rather than produce them itself.
hired talentless woke creators. though i noticed that amerijmutts only have garbage woke subhumans. they dont have any other options. leave everything to japan.
Think they're too big to fail so they piss away money for every Joe Blow "million dollar idea" project.
On the one hand I'll give them credit for funding crazier projects that would have never seen the light of day, like Love Death Robots, but they really have to stop vomiting out dozens of projects just to fill their catalog. I guess that's the Catch 22 of trying to stay top dog among streaming services.
I agree with you, but they're fighting an uphill battle. For the longest time they were the only name in the streaming game, but as every fricking network is trying to get a piece of the streaming pie, their catalogue shrinks exponentially. They now have the unenviable position of having to quickly create a catalogue of content from scratch that can somehow rival the literal decades of content that other networks have.
I agree that the focus should be on quality over quantity, but the average consumer is going to see the sheer number of options as an indicator of worth. If you scroll through the offerings and only see 50 options, even if they're all bangers, you're going to start wondering why you're paying a monthly subscription fee.
They got wienery. They sat on their asses counting their money instead of making new content to replace the mountain of titles Disney and Paramount were primed to take back from them. I'm convinced that they have no idea how to run a business.
>I'm convinced that they have no idea how to run a business.
They killed Blockbuster. That ain't nothing. There were some missteps, but it's ridiculous to say that those mistakes mean they have no idea what they're doing.
They had a "disruptive" idea and have been coasting on it alone since day one. Coming up with a new idea is one thing, maintaining a business is another.
They had two ideas. They started as a dvd mail service. Then they basically created the large scale high quality streaming paradigm that everyone uses today. Total hacks.
I thought it was the opposite? They started to want to keep up and greenlighted a bunch of shit nobody watched and amassed tons of debt, now they have to be more careful with their money
They let practically anyone make their own show, anf gave them carte blanche. But they should have been consolidated all the talent they attracted to only work on a select few shows, and then diversified their lineup more so there would be something good for everyone.
literally go woke go broke
adding lesbians in she-ra didn't make the woke crowd subscribe to netflix
all the woke crowd did was just b***h and moan about how its classism, ableism, etc. to expect them to pay for netflix
Japan is strangling the western cartoon industry and it will continue until the industry adapts. Most kids fall into anime earlier and earlier now and compared to back in the day it's far easier to dedicate your time to just watching anime.
Unreasonable expectations, gross mismanagement, failure to actually promote anything, canceling promising projects, pushing shows to be more like Boss Baby and Big Mouth.
>Littlest Pet Shop >Littlest Pet Shop A World Of Our Own >Franky and the ZhuZhus >Care Bears Unlock The Magic >Strawberry Shortcake Berry Bitty Adventures >DC Super Hero Girls >Rainbow Brite
It's not that there weren't imitations, it's that most of them failed.
Netflix was always an unsustainable business model, especially as more competition started showing up and continuously shrinking Netflix's catalog when they made their own service.
1. Netflix's business model is based entirely around providing streaming services. That's it. They were first to the market and had an early mover advantage. But in comparison to legacy media companies, which have diversified methods of delivering content (or streaming competitor Amazon, which makes a bundle of money through retail and cloud computing) Netflix had all their eggs in one basket.
2. Anyone who pays any attention to the market and investing principles was already aware of Netflix's vulnerabilities and while they were attractive as a fast-growing tech company, there was bound to be a certain amount of investor skepticism towards Netflix's long-term prospects.
3. Netflix was also aware of their weaknesses, and chose a strategy of attempting to hook new viewers in by producing their own original and exclusive content. Early successes like Stranger Things encourages them to pursue this strategy on a larger and increasingly more ambitious scale.
4. The Pandemic starts and suddenly people are spending a lot more time indoors at home. This in turn ends up being a boon to Netflix's subscriber list.
5. This pandemic boon isn't exclusive to Netflix, and other streaming services also do well, while legacy companies accelerate implementation of their own streaming services.
6. Vaccines emerge and the worst of the pandemic starts winding down. Netflix projects continuing subscriber growth to their investors. However, Netflix's viewership hits its peak and for the first time they show a decline in subscriptions.
7. Investors panic as this decline was contrary to Netflix's predictions. Either Netflix deliberately lied to investors or they lost sight of what was really happening in the market, and either one is bad for business. Plus the legacy companies are starting to muscles in on streaming harder than ever.
8. Netflix's stock tanks, leading them to go on a cost-slashing rampage. At this stage they've been very bullish about taking on new projects and their are far too many productions for them to support without financing.
9. Animated projects are generally among the less profitable ones, so their animation division makes a prime target.
tl;dr Netflix always had a shaky business model and their bubble popped
western cartoons are simply inferior to anime and they were simply beaten by it. thats it. they cant compete with anime because the quality is garbage and no consumer watches them.
the real problem is not netflix. its western creators who still totally live under a rock and believe they have to be protected just because of being westerners or whites.
All the studios went "Hey, we don't HAVE to give our stuff to Netflix! We can have our OWN streaming service!"
And they took their content off Netflix. Netflix suddenly had a lot less stuff to attract viewers, and lost subscribers. So they decided to cut stuff to "tighten the belt" and Netflix Animation seemed like an easy thing to cut. After all, animation is just for kids, and a lot of those shows weren't pulling in Boss Baby numbers!
Woke jokes aside it was the lack of standards
>Woke jokes aside it was the lack of standards
You say that like the two aren't fundamentally related.
It was many things
>Netflix
>animation
Two problems right there.
heh
Netflix gave carte blanche to any animator with the right connections to make their own show. which is fricking moronic because they will make their own pet projects instead of something that the audience will love.
this is completely on them though; any producer could have told them this(and probably did))
Overpromised and underdelivered.
They really could've done a better job at producing stuff made to keep audience retention more, but that would've meant abandoning the binge model. That model works for shit they licensed that already has a shitload of content, not so much for original content that has no ecosystem to breed any sort of fan discussion or hype.
Netflix originals are hot shit, you buy a month of Netflix to watch cult classics and never buy it again
BlackRock money
>blackrock
ah yes, the new buzzword.
>new buzzword.
>buzzword
It is a company.
Yeah just like Rothschilds are real people.
Frick off dude you heard a buzzword from /misc/ tourists who've never even looked into the thing and are regurgitating shit from random images a schizo cobbled together in mspaint.
>2022
>thinking that there aren't evil conspiracies
>2022
>coming up with theories and searching for evidence to back them up instead of collecting evidence and allowing them to lead to an unbiased conclusion
"The information age" is a misnomer. The internet has not only made people dumber, but they can now create communities so they can have the confidence to be proud about it.
>cries /misc/ whenever someone shows distrust towards multinational corporations
kek
You're talking to 2 different anons.
Corporations are the fricking evil empire. I don't object to not trusting them, but I do object to making up monster stories based on hearsay, unfounded allegations, and biased sources.
Don't be so easily manipulated. If something makes you mad, sad, or fearful, you should be suspicious where that information is coming from. Eliciting an emotional response is the easiest way to get people to throw away logic. ALL political parties do this as well as bad faith actors, foreign entities, advertisers, and people who are losing an argument.
How is something like Epstein "killing himself" anything but a blatant show of power? There is no hiding required.
where the frick did that come from?
Is this how you operate in normal life?
>Riding train
"YOU DON'T REALLY KNOW WHAT CHERRY PIE IS ABOUT!"
fair fricking play, crazy dude. I probably don't.
>calls someone a conspiracy nut for not trusting multinational corporation
>act super defensive about the implication that multinational corporations are not honest
>act like the label conspiracy nut means anything anymore since it is mixed in with "people who are paying"
>reacts super negatively to someone giving an example of a very obviously true conspiracy theory
You could just read BlackRock's website about EGS score system and see nothing is being hidden. It is all coercion.
>very obviously true conspiracy theory
>Haha the elites are fricking angelrinos they would never kill a man in a cell to cover up their pedophile ring
keep changing the topic to a pedophile's death. That will make everyone believe you are lucid.
Keep misinterpreting what is said to defend your multinational corpos gay.
You think that the term "conspiracy theory" as a reason to dismiss an opinion makes you look like anything other than completely moronic normalgay.
need a safe space?
the other anon has a point
and ur a turboBlack person
>the other anon
Or take a look at the top institutional investors of virtually every S&P 500 stock.
kek
anon talks about how emotional arguments are often bullshit
out of nowhere:
>OH YEAH, WHAT ABOUT SUICIDE THAT MIGHT HAVE BEEN AN ASSASSINATION?! ALSO PEDOPHILES!
My sides...
>OH YEAH, WHAT ABOUT SUICIDE THAT MIGHT HAVE BEEN AN ASSASSINATION?!
>Might
Kek
keep baiting, moron.
>Still can't admit that it happened
Reminds me of the Panama Papers.
>Matt bors
IIRC even his own followers thought this comic was stupid
God Bors is such a fricking moron it's unreal.
>comic
Imagine being so bluepilled even most other leftoids would call you a bluepilled homosexual
It's true, and I'm not one to play into the whole drama stuff, question is where's Black Rock and investor's getting there ideas from ?
It's not a buzzword when it's true
End of topic
Netflix has piss poor management in general, no doubt that anything wrong with NA came from above and dripped down
>what went wrong
The great grandson of the man who invented the study of electrical activity in the brain got together with the great grand nephew of Sigmund Freud to start a media company and nobody batted an eye.
sounds like you would like adam curtis documentaries. you remind me of "The Century of the Self" 4 part series
Interesting anon, thank you.
Which streaming service is worthwhile these days?
No.
The Pirate Bay and a Decent VPN
kek but true
HBO Max
no marketing for animated series + dumping them all at once + breaking up one season worth of episodes into two
this. I'm actively looking for new animation and most of the time the only reason I hear of something new on Netflix is because I read about it here. I live in NYC...there are ads in the subway tunnels and on the actual train cars, on billboards, on video screens on the streets, on the sides of bus stops, in taxis, at baseball games, at the various phone charging stations around the city...Not to mention the typical places that you find everywhere else in the world. They put a billboard up in times square for Kid Cosmic during the height of the pandemic when nobody was walking through there and that's about all I've seen.
NF fricking sucks at advertising for animated shows which is stupid. They cost a lot to make, you'd think they'd spend a little bit more to actually try to get people to watch it.
First we should look at what they've actually put out:
Kid Cosmic
City Of Ghosts
We The People
Ridley Jones
Centaurworld
I Heart Arlo
Ada Twist Scientist
A Tale Dark and Grimm
Karma's World
Maya And The Three
Inside Job
Dogs In Space
The Cuphead Show
Samurai Rabbit
Dead End Paranormal Park
Which of these do you/your kids watch?
I enjoyed inside job.
My little nephew watched the Cuphead show, but I had seen him watching videos of the game before. Dunno if he played the game
I saw Arcane, BoJack, Kipo, and Disenchantment
None of these were internal Netflix Animation projects.
So? It doesn’t change how they treated those shows.
Anon, one of those shows is literally funded by one of the largest corporations on the planet, it would have been made with or without Netflix.
>Ridley Jones
>Ada Twist
>Karma's World
Edutainment shows for tiny children, so I ignored these.
>Kid Cosmic
Good if flawed.
>City of Ghosts
>We The People
Borderline pretentious prestige projects that were never going to be popular.
>Centaurworld
>Dead End Paranormal Park
Not for me.
>I Heart Arlo
Terrible writing that's soft and conflict-free.
>A Tale Dark And Grimm
Moderately entertaining sleeper.
>Maya And The Three
The visuals and pacing make it difficult to watch, I can't even assess it.
>Inside Job
Solid, almost great.
>Dogs In Space
>The Cuphead Show
Dull.
>Samurai Rabbit
Generic and cheaply executed.
Out of all of these, there is only one show I'd fully endorse, and a couple of a mid-range recommendations. But this isn't a completely terrible showing, until you figure in how much money Netflix dumped into this. (Netflix Animation had an entire building to themselves.) They did not get their money's worth.
>Good if flawed.
that is every masterpiece.
You're missing Disenchantment.
Was it that forgettable?
>Disenchantment.
Why did people think this would be any good? We're way past Matt Groening's glory days, and it's not The Simpsons is getting any better
I want it to be good. It fricking sucks. The biggest failings are the inability to commit to either long form plots or episodic stories, and the pacing. Whoever edits those radio plays needs to get kicked in the groin. The jokes aren't great, but they don't have to be that bad. Whoever edits the dialogue has NO fricking feel for comedic timing, and the music doesn't help sell the comedy either (which is surprising because mothersbaugh typically nails it).
Again, what did you expect? The Simpsons hasn't been anything close to good in years, why would fantasy flavored Futurama be any different?
Because Futurama is awesome and Groening doesn't actually write for Disenchantment. Also, Abbi Jacobson is pretty funny. She does a decent job with Bean, but there isn't much for her to work with.
Futurama was good because it was hot off the heels of the Simpsons golden age, and had people who understand the sci-fi genre and science working on it.
Disenchantment fails at being parody of fantasy of only pretends to know anything about history or folklore to make jokes about it
yes. I fail to see how we disagree.
There's no reason to expect that Disenchantment couldn't have potentially been good.
+2 for Centaurworld here
Attack on titan mostly.
I've only seen Arcane, Cenaturworld and the Cuphead show
Eh, I liked Centaurworld, Inside Job, and Dead End
>What went so horribly wrong?
They didn't jump through whatever hoops Nick wanted to salvage Glitch Techs.
I remember when Nick partnered with Netflix to make more cartoons, then they uploaded Glitch Techs and did nothing else.
They also uploaded the Loud House Movie and Fairly OddParents.
And pinky maliky
This but also Viacom was planning to launch paramount+ and needed some nickelodeon originals
but that was on nick's side. when the executives changed, they cancelled most of the animation related projects and focused on live action. that wasn't netflix' fault
>that wasn't netflix' fault
The makers of Glitch Techs outright said it was up to Netflix whether or not the series would continue. Glitch Techs not continuing IS their fault.
true that, but the show itself was very messy and very expensive to the point that some of the crew in the show were saying it was a miracle the show was released. netflix(at the time) could have been eager to spend the same amount of cash on a proper GT season 2, but they'd have to rework the inner workings of the show to be more streamlined, and that takes time....
in an ideal world i'd say we'd have news about it later this year, but considering what happened, GT is very much dead.
They wanted everything to be an edgy Avatar ripoff, then Arcane happened and realized they will never be able to top that.
Made plenty of great series and films but unfortunately the israelites running the studio just want more creepy Big Mouth pedo shit.
>What went so horribly wrong?
Lauren Faust actually addressed some of the problems, that said it's not a Netflix problem, it's a whole US cartoon industry problem.
First off, they've chased off boys, and they are all in on video games now, they're not coming back to western cartoons, at best they will watch anime.
So they're left with girls, but they can't keep their interest either, and instead girls are watching Tik Tok while chatting with their friends, and again, at best they will watch anime.
And they just keep doing the same mistakes over and over again. Netflix made a deal to get He-Man so that they could appeal to boys again, side-lined He-Man and made it about Teela (who is now lesbian) and Evil-Lyn. Like what the frick...
here's a hard concept to grasp: get this, people might just like cartoons regardless of gender. It's always gender this and gender that, but has anyone thought that people might just like cartoons? Instead of pandering to [specific crowd] why don't companies just make what people want to see? Oh right...because that would mean admitting they are wrong about their audience and what they believe they want instead of what they actually want.
Depending on how this statement is interpretted, I agree. I honestly don't care if a character is gay or black or transgender as long as they're a good multidimensional character. The problem with the way that POC/trans/gay characters are typically written is that they are defined by their minority status.
While some characters have come under fire for being a "white cis-gendered character who happens to be black and gay" there's something to be said for characters that can be motivated by something other than their "otherness".
We're in an uncomfortable growing period where we're just starting to address issues of representation. Unfortunately, that also means we'll go through a period of sucky character writing as people try to figure out how to write these characters with subtlety and nuance.
This is the way forward, though. It's fricking moronic to bleat about "Where are my white cis males?!". Don't be mad about representation. Be mad about bad representation.
>I honestly don't care if a character is gay or black or transgender as long as they're a good multidimensional character.
No. No more concessions.
>boo hoo, im threatened by someone with different pronouns
what a homosexual
does seeing a few non-white characters in animation really bother you that much?
>w-we just want to get gay married why is that so bad
>a few non-white characters in animation
LOL
>Does seeing thing I don't like bother me
Yes
Unfortunately, this. Accepting their moral framework means that you will always lose the argument.
Remember when the Walking Dead show came under fire because there apparently weren't any gay people in the zombie apocalypse so we go pic related?
She fricking sucked. She was a lesbian who only ever spoke about the traditionally masculine things she did or her frustrations with being a lesbian and trying to date. She wasn't hated because she was a lesbian. She was hated because she existed to be a token.
They ended up doing a little better in subsequent seasons, but we're still in the "new braces" era of representation where our gums are sore and we keep licking our teeth. Ideally we'll eventually acclimate and we can get back to talking about which character we'd frick.
I honestly don't understand how anyone watched that shitshow beyond the second season
>It's fricking moronic to bleat about "Where are my white cis males?!"
No it's not. Why would you trade your large primary audience for a very miniscule audience ?
More than 90% of people are straight, whites are the majority race of people in the US, what we have now is a massive overrepresentation of blacks and LGBTQ in media, and people are tuning out since it's become pathetically obvious at this point.
People are fricking tired of seeing another crybaby story about how evil white straight people are towards minorities, because it's bullshit, these people don't want equality, they want victim status privilege.
[citation needed]
looks like we found a "trigger".
You're vying for the gold medal in the victimization olympics so hard, you should just start a tumblr now so you can be ready for your gold medal acceptance speech.
>You're vying for the gold medal in the victimization olympics so hard, you should just start a tumblr now so you can be ready for your gold medal acceptance speech.
You just said the quiet part out loud moron.
pulled a reverse uno. It's pointing out that the pol-tards on this board like to cry about "muh white male representation" which is funny because diversity in animation is only a very recent thing. The tone deafness is astounding.
>diversity in animation is only a very recent thing
Get cancer and die
He's not wrong, no one gave a shit about diversity back then so shows couldn't get by on just having a black character or an Asian. It still had to be -good- or notable in someway other than "Look how DIVERSE we are!"
>"Look how DIVERSE we are!"
I don't see this gets brought up in any of the Disney shows Amphibia/Owl House/McGee.
I think the only times it gets brought up is when coorperations change/put in diversity for the sake of it. Like many hate the token black character in Viking School becaus A) He was originally going to be a white pointy nose boy and B) Black people in north europe/britain during viking age was barely a thing.
Other example is when they let 2 girls kiss each other suddenly with no build up to it, and it's soo sudden/fast it's obviously there to throw a bone to the gay community while they edit it out from SA/China/Mexico/Russia/etc. realeses.
Let's play a fun game. Work out when those cartoons came out. Work out how long animation has existed. Work out how many animated properties have existed since that time.
Take your tokenism back home and go frick yourself. Having one black "friend" that you hold up by the shoulders to prove that you're not racist does not prove that you're not racist.
>Work out how long animation has existed. Work out how many animated properties have existed since that time.
In the vast majority of the time US animation has existed, the US was over 90% white.
>m-muh tokenism
have a nice day you stupid troony frick
you understand how that's literally nothing compared to all the other media that was released on those years?
Yeah, it's just a small sample of how organically diverse things were before you evil marxists took over
What do you think Twitter or Cinemaphile reaction would be on the gender neutral kid episode (who get to decide what gender it want to be) from the show Lloyd in space?
good stories are good stories. It's a fricking cartoon. The character can be a green alien for all I care. I'll watch it if the character and story are good, and I'll actually enjoy it if the animation and music are awesome.
Make it a duck. Make it a fricking talking rock or a shell wearing shoes. Who gives a shit?
If representation gets more people into animation, then we all win. More patronage means more viewers, bigger budgets, and more animation. I'm on board as long as we can grow past the "gay character acts gay because they're gay and has to remind the audience that they're gay because god forbid they have a hobby" trope. That's about as good a character as "white male who acts like a white male because he's a white male and has to remind the audience that he's a white male". Who fricking likes that? Give me something to care about.
Agree, and they might like them at different gender ratios. For whatever reason, if little girls don't like cartoons as much as little boys, instead of trying to change cartoons until it's 50/50, just make more of stuff little girls do want to watch. The girls who like cartoons will watch them if you make good cartoons.
this is why you are not a marketer
I think she's close, but no dice, her analysis is missing some key factors. IME kids don't have an issue with animated content, they just move onto anime at younger ages than suits expect. It isn't entirely correct to say that boys move onto videogames and girls onto tiktok, because I think they are drastically underestimating how badly anime eats their lunch and how young it starts.
In short, industry standards for what is acceptable to show to kids does not align with their revealed preferences. They are creating content informed by past decades of what was popular and successful, but kids in the 80s did not have nearly the same access to varied media as kids do now. Just because something was successful with kids in the past does not mean that was representative of what those kids would have chosen to watch if given more options. Previous generations of kids were captive audiences. Modern kids have netflix and hulu and crunchyroll and pirate sites and much less parental oversight over their media choices. They don't have to watch something like Owl House for lack of options. Given options those kids overwhelmingly choose against the content Western creatives and executives incorrectly surmised was geared towards them. Their entire model of what 'kids content' looks like, what it can be, what kids like, is completely and utterly incorrect, badly informed due to previous generations with no alternatives. Western media has done a lot of kow-towing to the loudest harpy Christian moms and allowed the market to be captured by Japan.
Everything about tv ratings (tv-pg, tv-y7 etc) has no basis in reality, it doesn't align with what kids actually like and no hard science to back it up, its based on what parents like and what parents feel is OK to show to their kids. But most parents don't actually care.
>Western media has done a lot of kow-towing to the loudest harpy Christian moms and allowed the market to be captured by Japan.
??? Christian moms haven't been a power in dictating media choices since the 80's, and even then they had very little impact.
The anime renessaince we're seeing now is not because
christian moms are handcuffing western media, it's because western media has gone insanely woke and thus become stale and preachy.
Anime today is a far cry from the super edgy stuff back in the 80's boom, but compared to western offerings, even a magical girl deconstruction or a vanilla isekai feels like 'exciting and edgy' compared to what you get from the west.
The initial tv age ratings were devised due to pressure from parent groups. Even if they aren't in power anymore their legacy remains. Hirsh released notes from Standards and Practices showing how Disney at least was still concerned with parents complaining. I don't think it takes a lot of parents complaining, which is where I think you're disagreeing. Networks make all sorts of moronic decisions due to complaints from less than 10 people. It just takes a handful of nosy busybodies.
Even if you showed a kid non-woke kids media from the 90s I think there's a genuinely high chance it still won't be appealing to them. It not being woke isn't enough when anime has better variety, fight scenes, character designs etc. Kid Cosmic (I only saw the first season) isn't really woke and the main character is a little blond boy. But it is rated tv-y7, when it is really better aimed at a younger audience (like ages 4 and up). 7 year olds are already watching anime and playing Call of Duty and watching Marvel Capeshit. Kid Cosmic must seem like total babyshit to actual 7 year olds.
Netflix animation has numerous fricking problems, most of them tied to with Netflix itself and how it treats all its shows, but I'll keep it focused on animation
The biggest issue with Netflix animation, and frankly the western animation industry as a whole, is that nobody knows how to write a fricking story. They fancy themselves writers, wanting to do epic stories with characters that change and grow over the course of seasons, with cheap jokes spinkled throughout, but they don't actually know what makes longform stories good.
Arcane is the ONLY modern western series that manages to do this, and guess what? Most of this writers aren't from the animation industry, they're from the game industry, with the only exception being one of the writers of Toy Story fricking 2.
The western animation industry is so ashamed at being aimed at children and wants to break, while still being forced to cater to children, and adult comedies because those are poven to sell. The issue is that nobody is trained to make those any good, you can most western animators just copy things from other sources without much thought about how or why they worked, namely anime, which I don't feel like going into right now.
Point is, that is the biggest issue here. Their overly ambitious and want to shovel everything that's "important" to them in the series to gain clout, but have no idea what it takes to make it something stand out and spectacular, or even just good.
> just copy things from other sources without much thought about how or why they worked, namely anime
I feel like anyone who's watched modern (last 10 years) cartoons understand what you mean here. They copy the style and the tropes, but not the actual art or story telling. Plenty of Eva references, but you never see an episode told visually the way Eva did, or characters developed, or silence and sound design used the way Eva did. They binged it in a weekend, got the superficial shit and then put it in their cartoons. The exception to this is the final episode of Teen Titans, which was heavily stylized, but that show was strange in a lot of ways.
I don't know if this is animation's biggest problem (as I think issues involving writing affects live-action TV and films too), but you aren't wrong. American animation is forced into kids shows or adult comedies - studios have to be tricked into greenlighting anything else.
is also right to a degree, although I think it ties into an issue already stated here - cartoons are seen as kiddie fare and pre-teens would rather watch more "grown-up" stuff like Descendants or Marvel. Again, if there were more adult-oriented cartoons out there, I wonder if this stigma would persist? How would something like Daria, an animated teen sitcom, fare in today's market?
What's really sad is that the "serious" series they had were marketed as """anime""" despite the fact they made in the US. Companies have no faith in American animation outside of kid shows and FG knockoffs to the point where even Disney is putting a good amount of money into anime licenses/commissioned work for their streaming service. Arcane is also funny because not only were the writers from Riot, the animation studio was French and they was financed by Riot and their Chinese parent company Tencent.
Quest for more money. They wanted to do this by increasing the income and decrease the expenses.
They decrease the expenses by shutting down projects that cost "to much" but keep the cheapest made ones. And increase income by showing said cheapest made showds or very show known IPs like Boss Baby.
everybody wanted to be the next big name in the animation world
>She-Ra
>Love Death and Robots
>Bojack
>Kipo
>Home
>Sgt Frog
>Inside Job
>Castlevania
>Dragon Prince
>Neo Yokio
>HILDA
i don't see a problem here
maybe netflix has tacitly agreed to be bought out by disney and disney bribed them to shut down their cartoon shit so more subscriptions go to the mouse
https://www.fool.com/investing/2021/11/25/netflix-made-a-deal-on-path-to-becoming-disney/
https://www.mercurynews.com/2021/12/14/netflix-former-executive-sentenced-to-30-months-for-taking-bribes/
yes i know sgt frog wasn't produce by netflix animation
i should have said kulipari
The only show on your list that's from Netflix Animation is Inside Job, which pretty much explains why Netflix Animation is failing. People don't know what Netflix Animation show is versus a licensed or co-produced show. They are unnecessary.
There is no reason for Netflix to produce its own cartoon shows if it isn't going to do merchandising. Plus, the animators at Netflix Animation worked under the incorrect assumption that they did not need to worry about their survival. They made a bunch of shows with little commercial viability, driven by artistic self-indulgence, ideological activism, and a disregard for, or simply an ignorance of, the taste of the audience. To be fair, this attitude permeated much of Netflix, not just the animation studio.
It's better for Netflix to fund third-party shows, rather than produce them itself.
Is this post implying that Neo Yokio and She-Ra are good?
hired talentless woke creators. though i noticed that amerijmutts only have garbage woke subhumans. they dont have any other options. leave everything to japan.
No Dark Crystal season 2 proved they were fricking hack philistines who should die slowly and painfully from intestinal rupturing and sepsis.
OH SHIT THIS ANON'S RIGHT.
WHAT THE FRICK HAPPENED TO MY GIRL DEET?!!?!
Can't they just give Alberto Mielgo his own anthology series already?
She-Ra.
splish splash your opinion is trash
Think they're too big to fail so they piss away money for every Joe Blow "million dollar idea" project.
On the one hand I'll give them credit for funding crazier projects that would have never seen the light of day, like Love Death Robots, but they really have to stop vomiting out dozens of projects just to fill their catalog. I guess that's the Catch 22 of trying to stay top dog among streaming services.
I agree with you, but they're fighting an uphill battle. For the longest time they were the only name in the streaming game, but as every fricking network is trying to get a piece of the streaming pie, their catalogue shrinks exponentially. They now have the unenviable position of having to quickly create a catalogue of content from scratch that can somehow rival the literal decades of content that other networks have.
I agree that the focus should be on quality over quantity, but the average consumer is going to see the sheer number of options as an indicator of worth. If you scroll through the offerings and only see 50 options, even if they're all bangers, you're going to start wondering why you're paying a monthly subscription fee.
They got wienery. They sat on their asses counting their money instead of making new content to replace the mountain of titles Disney and Paramount were primed to take back from them. I'm convinced that they have no idea how to run a business.
>I'm convinced that they have no idea how to run a business.
They killed Blockbuster. That ain't nothing. There were some missteps, but it's ridiculous to say that those mistakes mean they have no idea what they're doing.
They had a "disruptive" idea and have been coasting on it alone since day one. Coming up with a new idea is one thing, maintaining a business is another.
They had two ideas. They started as a dvd mail service. Then they basically created the large scale high quality streaming paradigm that everyone uses today. Total hacks.
>jewflix shills ITT
Crawl back to discord you racist c**t
>oh no, goy! not hurtful words!
Jews are not a race, dumbass.
Imagine saying this on Cinemaphile and not getting laughed out of the thread by anti-israelite memes. This is where Cinemaphile is at now.
I thought it was the opposite? They started to want to keep up and greenlighted a bunch of shit nobody watched and amassed tons of debt, now they have to be more careful with their money
You’re right. Most people who post authoritatively on /co don’t actually know what they’re talking about.
Netflix went wrong. There moronic season drop was literally shooting themselves in the foot
The moment they failed to renew The Dark Crystal: Age of Resistance it should have been apparent nobody knew what the FRICK they were doing.
>give creative freedom to maericans
>DUDE SHIT FRICK SWEARING
>AND IRONIC NUDITY WITH CENSORS ON BAD ART
>AND GAY MEN SEX
Never made Lego Elves Season 2
Never licensed any of the other seasons of The Haunted House for a dub or even English subs
I don't know, big mouth is keeping things afloat
Everything
They let practically anyone make their own show, anf gave them carte blanche. But they should have been consolidated all the talent they attracted to only work on a select few shows, and then diversified their lineup more so there would be something good for everyone.
Barely marketing their animated shows combined with the binge model ensured that most of them would be quickly forgotten.
They hired shit talent other than maybe Lauren Faust. Meanwhile HBO got Gendy on an exclusive contract.
All the best co shows for the site were not made by them.
literally go woke go broke
adding lesbians in she-ra didn't make the woke crowd subscribe to netflix
all the woke crowd did was just b***h and moan about how its classism, ableism, etc. to expect them to pay for netflix
Japan is strangling the western cartoon industry and it will continue until the industry adapts. Most kids fall into anime earlier and earlier now and compared to back in the day it's far easier to dedicate your time to just watching anime.
Unreasonable expectations, gross mismanagement, failure to actually promote anything, canceling promising projects, pushing shows to be more like Boss Baby and Big Mouth.
>pushing shows to be more like Boss Baby and Big Mouth
You know I gotta wonder why the cartoon horse show never got imitators.
>Littlest Pet Shop
>Littlest Pet Shop A World Of Our Own
>Franky and the ZhuZhus
>Care Bears Unlock The Magic
>Strawberry Shortcake Berry Bitty Adventures
>DC Super Hero Girls
>Rainbow Brite
It's not that there weren't imitations, it's that most of them failed.
Yeah, all of them following the leader and none of the capturing that spark that made the horse show take off in the first place.
Netflix was always an unsustainable business model, especially as more competition started showing up and continuously shrinking Netflix's catalog when they made their own service.
1. Netflix's business model is based entirely around providing streaming services. That's it. They were first to the market and had an early mover advantage. But in comparison to legacy media companies, which have diversified methods of delivering content (or streaming competitor Amazon, which makes a bundle of money through retail and cloud computing) Netflix had all their eggs in one basket.
2. Anyone who pays any attention to the market and investing principles was already aware of Netflix's vulnerabilities and while they were attractive as a fast-growing tech company, there was bound to be a certain amount of investor skepticism towards Netflix's long-term prospects.
3. Netflix was also aware of their weaknesses, and chose a strategy of attempting to hook new viewers in by producing their own original and exclusive content. Early successes like Stranger Things encourages them to pursue this strategy on a larger and increasingly more ambitious scale.
4. The Pandemic starts and suddenly people are spending a lot more time indoors at home. This in turn ends up being a boon to Netflix's subscriber list.
5. This pandemic boon isn't exclusive to Netflix, and other streaming services also do well, while legacy companies accelerate implementation of their own streaming services.
6. Vaccines emerge and the worst of the pandemic starts winding down. Netflix projects continuing subscriber growth to their investors. However, Netflix's viewership hits its peak and for the first time they show a decline in subscriptions.
7. Investors panic as this decline was contrary to Netflix's predictions. Either Netflix deliberately lied to investors or they lost sight of what was really happening in the market, and either one is bad for business. Plus the legacy companies are starting to muscles in on streaming harder than ever.
8. Netflix's stock tanks, leading them to go on a cost-slashing rampage. At this stage they've been very bullish about taking on new projects and their are far too many productions for them to support without financing.
9. Animated projects are generally among the less profitable ones, so their animation division makes a prime target.
tl;dr Netflix always had a shaky business model and their bubble popped
>the only smart anon in the thread
This is what I've been saying in all of these israeliteflix threads.
>The Pandemic starts
No it didn't.
Oh sorry, I must have imagined it. Guess I'd better take my meds or else I'll start hallucinating that Trump isn't the president anymore.
>Oh sorry, I must have imagined it. Guess I'd better take my meds
Correct.
Haha, can you even imagine how shit everything would be if Biden actually won the election?
western cartoons are simply inferior to anime and they were simply beaten by it. thats it. they cant compete with anime because the quality is garbage and no consumer watches them.
the real problem is not netflix. its western creators who still totally live under a rock and believe they have to be protected just because of being westerners or whites.
Says the weeb posting on Cinemaphile
corner cutting
All the studios went "Hey, we don't HAVE to give our stuff to Netflix! We can have our OWN streaming service!"
And they took their content off Netflix. Netflix suddenly had a lot less stuff to attract viewers, and lost subscribers. So they decided to cut stuff to "tighten the belt" and Netflix Animation seemed like an easy thing to cut. After all, animation is just for kids, and a lot of those shows weren't pulling in Boss Baby numbers!