Quick Links
- The Dysfunctional TV Binge Model
- Rosy Retrospection Bias in Film and Television
As someone who grew up in the golden age of animated shows and has seen the industry evolve over the years, I can’t help but feel a sense of nostalgia mixed with concern. The shows I loved and cherished were more than just entertainment; they were part of my childhood, shaping my imagination and fueling my creativity.
It’s undeniable that some of the most accomplished cartoons, both in terms of audience appeal and artistic merit, emerged between the 2000s and 2010s. Shows like “Avatar: The Last Airbender” (2005), “Phineas and Ferb” (2008), and “Adventure Time” (2010) are Emmy-winning series that rank among the top 250 shows on IMDb, but this is merely the surface.
Not only were there difficulties faced by animators on projects like “Spider-Man: Across the Spider-Verse”, but a sudden time crunch led over 100 team members to depart due to excessive work hours. It appears that these intense conditions stemmed from writer and producer Phil Lord’s requirement to personally approve each scene in the 140-minute movie, as reported by nofilmschool. Although the film was successful, one has to wonder about the toll it took on those involved. Is this kind of pressure more the exception or the rule within the industry?
The Dysfunctional TV Binge Model
In the past, television shows were primarily watched through cable subscriptions, creating a shared cultural experience with iconic commercials like the Geico gecko and Flo from Progressive. Today, however, with the rise of streaming services, each individual’s media consumption is highly personalized, making for a more fragmented cultural landscape.
In simpler terms, Conover points out that the idea of the binge-watching model was unrealistic from the start. This is because platforms like Netflix motivate viewers to watch multiple episodes of a series at once and consider this as a sign of success. However, this standard is extremely difficult for most people to meet since they typically don’t have enough time to watch large amounts of television all at once. Even if a viewer doesn’t finish the show immediately, it doesn’t necessarily mean they won’t eventually. Unfortunately, Netflix and other streaming services often cancel shows before they can fully conclude their stories because they don’t consider this perspective.
Not to mention, binging kills one of the most tried-and-true forms of marketing there is: word of mouth. Family Guy, now one of the longest-running scripted primetime television series, was canceled twice. By continuing to move the time slot and placing it against critical darlings Friends and Survivor, Fox set the once-popular series up for failure. It was only brought back because of how well the DVDs sold. Family Guy benefited from a slow burn, which the binge model doesn’t allow. This dysfunction is partially why the streamers are losing money, and the subsequent desperation is what has led to other things, such as the reboot-ification of TV.
Rosy Retrospection Bias in Film and Television
Is it evident that the television industry might be experiencing a downturn? Yet, what impact is this having on the creatives involved, and how is it influencing the caliber of their output? Could there be other factors involved too? People often look back at the past with rose-tinted glasses, known as rosy retrospection bias. This is why many people may romanticize their high school years, even though in reality, they likely spent much of that time feeling exhausted and hormonal.
As a film enthusiast, I can’t help but add my two cents to the discussion on the remarkable animated series and films that graced our screens in the 2020s. Among the critical and commercial successes were gems like “Invincible” on Prime Video, “Nimona,” and “Hilda” on Netflix. Other well-received, yet perhaps slightly off the beaten path hits include “Marcel the Shell with Shoes On,” “Wolfwalkers,” and “Mars Express.” Notable mentions should also go to “Infinity Train,” which technically debuted in 2019, and “Fionna and Cake,” a reboot that stands tall on its own merit.
A writer for Strike Magazines notes a distinctive challenge faced by the animation sector: the misconception that animation caters solely to children. This stereotype arises due to how studios promote their animated productions, although it’s important to remember that many (not all) of these stories are suitable for audiences of all ages. Consequently, some of the disillusionment and fatigue experienced by animation enthusiasts might stem from this ongoing struggle, compounded by the high standards and pressures that have become commonplace in today’s television industry.
Read More
Sorry. No data so far.
2024-09-15 18:31