History Main / AshcanCopy

20th Apr '17 9:12:15 AM dangerdan97
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** Of the three major Marvel franchises still held by outside studios, Fox's ''[[Film/XMenFilmSeries X-Men]]'' has most successfully averted the need for an ashcan installment. While the quality of the films has been uneven (from the high of ''Film/XMenDaysOfFuturePast'' to the low of ''Film/XMenOriginsWolverine''), their release schedules have been steady, the budgets have all been what one would expect for a major theatrical release, and the latest installment, ''Film/XMenApocalypse'', was a box office success.

to:

** Of the three major Marvel franchises still held by outside studios, Fox's ''[[Film/XMenFilmSeries X-Men]]'' has most successfully averted the need for an ashcan installment. While the quality of the films has been uneven (from the high of ''Film/XMenDaysOfFuturePast'' to the low of ''Film/XMenOriginsWolverine''), their release schedules have been steady, the budgets have all been what one would expect for a major theatrical release, and the latest installment, ''Film/XMenApocalypse'', ''Film/Logan'', was a massive critical and box office success.
9th Apr '17 7:04:09 AM mariofan1000
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* On February 9th, 2015 (at 1:30 AM!), ''Winter Dragon'', a 30-minute adaptation of part of ''The Eye of the World'' (the first volume of Robert Jordan's ''[[Literature/TheWheelOfTime Wheel of Time]]'' series) appeared on [[Creator/{{Fox}} FXX]]. What keeps it from being just another OneEpisodeWonder are the circumstances of its production. [[https://twitter.com/Sedavision According to the director's tweets]], [[ChristmasRushed filming began on January 20th and post-production was completed on February 4th]]. The TV rights to the ''Wheel of Time'' series were set to revert from Red Eagle Entertainment (who has held them since the mid-2000s) to The Bandersnatch Group (which is owned by the Robert Jordan estate) on February 11th. Needless to say, [[http://www.tor.com/blogs/2015/02/wheel-of-time-pilot-harriet-statement Jordan's widow was not pleased]].

to:

* On February 9th, 2015 (at 1:30 AM!), ''Winter Dragon'', a 30-minute adaptation of part of ''The Eye of the World'' (the first volume of Robert Jordan's ''[[Literature/TheWheelOfTime Wheel of Time]]'' series) appeared on [[Creator/{{Fox}} FXX]]. [[labelnote:note]]Which is FX's ''comedy'' spin-off channel[[/labelnote]] What keeps it from being just another OneEpisodeWonder are the circumstances of its production. [[https://twitter.com/Sedavision According to the director's tweets]], [[ChristmasRushed filming began on January 20th and post-production was completed on February 4th]]. The TV rights to the ''Wheel of Time'' series were set to revert from Red Eagle Entertainment (who has held them since the mid-2000s) to The Bandersnatch Group (which is owned by the Robert Jordan estate) on February 11th. Needless to say, [[http://www.tor.com/blogs/2015/02/wheel-of-time-pilot-harriet-statement Jordan's widow was not pleased]].
26th Mar '17 4:17:43 AM C2
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** Creator/{{Sony}}'s ''Spider-Man'' license was originally doing much better than Fox and the Fantastic Four, and in fact is sometimes credited with kickstarting the current era of superhero movies. However, after Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story called ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' was greenlit with an all-new cast and crew. Critics alleged the project was revived solely to extend Sony's reversion deadline, but the rebooted film was (unexpectedly) a big enough hit to generate talk of a franchise of its own to compete with the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up a critical and box office failure, derailing all of Sony's carefully-laid plans to make Peter Parker into a meta-franchise. Sony was scrambling for any viable ideas; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). After the 2014 Sony email hack revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home" led Sony to sign a deal in early 2015 to allow reciprocal character appearances with Marvel Studios, improving their chances of holding onto the license in the long term.

to:

** Creator/{{Sony}}'s ''Spider-Man'' license was originally doing much better than Fox and the Fantastic Four, and in fact is sometimes credited with kickstarting the current era of superhero movies. However, after Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story called ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' was greenlit with an all-new cast and crew. Critics alleged the project was revived solely to extend Sony's reversion deadline, but the rebooted film was (unexpectedly) a big enough hit to generate talk of a franchise of its own to compete with the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up a critical and box office failure, derailing all of Sony's carefully-laid plans to make Peter Parker into a meta-franchise. Sony was scrambling for any viable ideas; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). After the 2014 Sony email hack revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home" led Sony to sign a deal in early 2015 to allow reciprocal character appearances with Marvel Studios, improving their chances of holding onto the license in the long term. Accordingly, Spidey's solo films staring with ''Film/SpiderManHomecoming'' will be produced by Marvel Studios for Sony and set in the MCU.
24th Feb '17 8:03:04 AM NightShade96
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** The 1994 ''Film/TheFantasticFour'' movie was ashcan fodder extraordinaire. The studio was on the verge of losing the rights forever, so it was made [NoBudget cheaply]], produced by famed BMovie schlock-meister Creator/RogerCorman, and never got a wide release. It exists only in bootleg copies, some of which have made their way [[https://www.youtube.com/watch?v=QW5rLyzFWJM online]].

to:

** The 1994 ''Film/TheFantasticFour'' movie was ashcan fodder extraordinaire. The studio was on the verge of losing the rights forever, so it was made [NoBudget [[NoBudget cheaply]], produced by famed BMovie schlock-meister Creator/RogerCorman, and never got a wide release. It exists only in bootleg copies, some of which have made their way [[https://www.youtube.com/watch?v=QW5rLyzFWJM online]].
24th Feb '17 8:02:42 AM NightShade96
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* Marvel has had huge success with movie adaptations of its superhero characters, including the sprawling, interconnected Marvel Cinematic Universe continuity, financed and produced in-house. However, three of the most popular Marvel properties -- Spiderman, the Fantastic Four, and the X-Men -- are conspicuous by their absence in the MCU. Marvel sold off movie rights to their best-known characters to make ends meet during a period of financial troubles in the late 1990s, even though their characters had never yet been successfully adapted to the big screen. In the 2000s, a new approach to development spearheaded by Jerry Calabrese and Avi Arad lead to a string of successful films by outside studios, and eventually to Marvel experimenting with in-house movie production rather than licensing. Characters like Iron Man and Captain America were considered second- or third-string heroes in the comics world, but at least Marvel still held their movie rights free and clear, so they made do with what was available and were rewarded with several smash hits. Since then, Marvel has been very interested in permanently reclaiming properties that could be added to the MCU, and their licensees have resorted to ashcanning productions to hold on to their movie rights.
** The 1994 ''Film/TheFantasticFour'' movie was ashcan fodder extraordinaire. The studio was on the verge of losing the rights forever, so it was made on the cheap, produced by famed BMovie schlock-meister Creator/RogerCorman, and never got a wide release. It exists only in bootleg copies, some of which have made their way [[https://www.youtube.com/watch?v=QW5rLyzFWJM online]].
** ''Film/FantasticFour2015'' didn't fare any better, rushed out to meet yet another deadline for Creator/TwentiethCenturyFox to produce a film or see the characters revert to Marvel. Fox's main concern was not only the potential lost revenue from (higher quality) future releases but also strengthening one of their direct competitors. This cynical impetus led to a TroubledProduction, faced with ExecutiveMeddling and [[InternetBackdraft an infuriated fanbase]] from without, and director Josh Trank's CreatorBreakdown and multiple {{Special Effect Failure}}s from within. The final result was a significant BoxOfficeBomb and one of the worst-reviewed comic book movies ever made, [[DisownedAdaptation disowned by Marvel itself]] [[CreatorBacklash and badmouthed by the director and many other members of the cast and crew]]. A planned sequel vanished from Fox's release calendar in November of 2015. Many critics suggested Fox could have made more money without even bothering to release a movie, by simply selling the rights back to Marvel Studios or striking a deal to allow reciprocal character appearances with the MCU, like Sony did after the diminishing returns of ''Film/TheAmazingSpiderManSeries''.
** Creator/{{Sony}}'s Spider-Man license was originally doing much better than Fox and the Fantastic Four, and in fact is sometimes credited with kickstarting the current era of superhero movies. However, after Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story called ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' was greenlit with an all-new cast and crew. Critics alleged the project was revived solely to extend Sony's reversion deadline, but the rebooted film was (unexpectedly) a big enough hit to generate talk of a franchise of its own to compete with the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up a critical and box office failure, derailing all of Sony's carefully-laid plans to make Peter Parker into a meta-franchise. Sony was scrambling for any viable ideas; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). After the 2014 Sony email hack revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home" led Sony to sign a deal in early 2015 to allow reciprocal character appearances with Marvel Studios, improving their chances of holding onto the license in the long term.
** Of the three major Marvel franchises still held by outside studios, Fox's X-Men has most successfully averted the need for an ashcan installment. While the quality of the films has been uneven (from the high of ''Days of Future Past'' to the low of ''Origins: Wolverine''), the release schedule has been steady, the budgets have all been what one would expect for a major theatrical release, and the latest installment, ''X-Men: Apocalypse'', was a box office success.

to:

* Marvel has had huge success with movie adaptations of its superhero characters, including the sprawling, interconnected Marvel Cinematic Universe Franchise/MarvelCinematicUniverse continuity, financed and produced in-house. However, three of the most popular Marvel properties -- Spiderman, ComicBook/SpiderMan, the Fantastic Four, ComicBook/FantasticFour, and the X-Men ComicBook/XMen -- are conspicuous by their absence in the MCU. Marvel sold off the movie rights to their best-known characters to make ends meet during a period of financial troubles in the late 1990s, even though their characters had never yet been successfully adapted to the big screen. In the 2000s, a new approach to development spearheaded by Jerry Calabrese and Avi Arad lead to a string of successful films by outside studios, and eventually to Marvel experimenting with in-house movie production rather than licensing. licensing to other studios. Characters like Iron Man and Captain America were considered second- or third-string heroes in the comics world, but at least Marvel still held their movie rights free and clear, so they made do with what was available and were rewarded with several smash hits. Since then, Marvel has been very interested in permanently reclaiming properties that could be added to the MCU, and their licensees have resorted to ashcanning productions in order to hold on to their movie rights.
rights:
** The 1994 ''Film/TheFantasticFour'' movie was ashcan fodder extraordinaire. The studio was on the verge of losing the rights forever, so it was made on the cheap, [NoBudget cheaply]], produced by famed BMovie schlock-meister Creator/RogerCorman, and never got a wide release. It exists only in bootleg copies, some of which have made their way [[https://www.youtube.com/watch?v=QW5rLyzFWJM online]].
** ''Film/FantasticFour2015'' didn't fare any better, as it was rushed out to meet yet another deadline for Creator/TwentiethCenturyFox to produce a film (following the underperformance of ''[[Film/FantasticFour2005 Fantastic Four: Rise of the Silver Surfer]]'') or see the characters revert to Marvel. Fox's main concern was not only the potential lost revenue from (higher quality) future releases but also strengthening the fact that it would strengthen one of their direct competitors. This cynical impetus led to a TroubledProduction, faced with ExecutiveMeddling and [[InternetBackdraft an infuriated fanbase]] from without, and director Josh Trank's CreatorBreakdown and multiple {{Special Effect Failure}}s from within. The final result was a significant BoxOfficeBomb and one of the worst-reviewed comic book movies ever made, [[DisownedAdaptation disowned by Marvel itself]] [[CreatorBacklash and badmouthed by the director and many other members of the cast and crew]]. A planned sequel vanished from Fox's release calendar in November of 2015. Many critics suggested Fox could have made more money without even bothering to release a movie, by simply selling the rights back to Marvel Studios or striking a deal to allow reciprocal character appearances with the MCU, like Sony did after the diminishing returns of ''Film/TheAmazingSpiderManSeries''.
** Creator/{{Sony}}'s Spider-Man ''Spider-Man'' license was originally doing much better than Fox and the Fantastic Four, and in fact is sometimes credited with kickstarting the current era of superhero movies. However, after Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story called ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' was greenlit with an all-new cast and crew. Critics alleged the project was revived solely to extend Sony's reversion deadline, but the rebooted film was (unexpectedly) a big enough hit to generate talk of a franchise of its own to compete with the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up a critical and box office failure, derailing all of Sony's carefully-laid plans to make Peter Parker into a meta-franchise. Sony was scrambling for any viable ideas; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). After the 2014 Sony email hack revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home" led Sony to sign a deal in early 2015 to allow reciprocal character appearances with Marvel Studios, improving their chances of holding onto the license in the long term.
** Of the three major Marvel franchises still held by outside studios, Fox's X-Men ''[[Film/XMenFilmSeries X-Men]]'' has most successfully averted the need for an ashcan installment. While the quality of the films has been uneven (from the high of ''Days of Future Past'' ''Film/XMenDaysOfFuturePast'' to the low of ''Origins: Wolverine''), the ''Film/XMenOriginsWolverine''), their release schedule has schedules have been steady, the budgets have all been what one would expect for a major theatrical release, and the latest installment, ''X-Men: Apocalypse'', ''Film/XMenApocalypse'', was a box office success.



* ''Film/HellraiserRevelations'' was made in a few weeks so that Creator/TheWeinsteinCompany could hold onto the rights to the ''Franchise/{{Hellraiser}}'' franchise long enough to get a planned remake off the ground. The result is widely regarded as the worst film in a franchise that has seen its fair share of bad sequels, to the point where Creator/CliveBarker (who wrote and directed the original film) [[https://twitter.com/RealCliveBarker/status/105189711416524800 publicly]] [[DisownedAdaptation disowned it]] and Creator/DougBradley (who played Pinhead in every film prior) refused to have any part of it.

to:

* ''Film/HellraiserRevelations'' was made in a few weeks so that Creator/TheWeinsteinCompany could hold onto the rights to the ''Franchise/{{Hellraiser}}'' franchise long enough to get a planned remake off the ground. The result is widely regarded as the worst film in a franchise that has seen its fair share of bad sequels, to the point where Creator/CliveBarker (who wrote and directed the original film) [[https://twitter.com/RealCliveBarker/status/105189711416524800 publicly]] [[DisownedAdaptation disowned it]] and Creator/DougBradley (who played Pinhead in every film prior) refused to have any part of in it.
18th Feb '17 11:10:45 AM Mario1995
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Added DiffLines:

* ''Film/DudleyDoRight'' and ''Film/TheAdventuresOfRockyAndBullwinkle'' supposedly ended up this way, in part due to Universal wanting to get the films out of DevelopmentHell quickly so that it could keep the film rights for the ''Rocky and Bullwinkle'' franchise. Both movies bombed at the box office, leaving Universal no other option but to just give up the rights. Ironically, Universal would regain the film rights to the franchise after acquiring Creator/DreamWorksAnimation, owners of the characters with the Creator/JayWard estate.
4th Jan '17 11:20:45 AM erforce
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* ''Film/HellraiserRevelations'' was made in a few weeks so that Creator/TheWeinsteinCompany could hold onto the rights to the ''Franchise/{{Hellraiser}}'' franchise long enough to get a planned remake off the ground. The result is widely regarded as the worst film in a franchise that has seen its fair share of bad sequels, to the point where Creator/CliveBarker (who wrote and directed the original film) [[https://twitter.com/RealCliveBarker/status/105189711416524800 publicly]] [[DisownedAdaptation disowned it]] and Doug Bradley (who played Pinhead in every film prior) refused to have any part of it.

to:

* ''Film/HellraiserRevelations'' was made in a few weeks so that Creator/TheWeinsteinCompany could hold onto the rights to the ''Franchise/{{Hellraiser}}'' franchise long enough to get a planned remake off the ground. The result is widely regarded as the worst film in a franchise that has seen its fair share of bad sequels, to the point where Creator/CliveBarker (who wrote and directed the original film) [[https://twitter.com/RealCliveBarker/status/105189711416524800 publicly]] [[DisownedAdaptation disowned it]] and Doug Bradley Creator/DougBradley (who played Pinhead in every film prior) refused to have any part of it.
27th Dec '16 9:03:44 AM Thenakedcat
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In the wider culture, "ashcan copy" has stuck around to describe any crappy proof-of-sort-of-concept production that exists solely because of the strange intricacies of trademark and licensing law -- especially in the US, where television or movie adaptation contracts often have a "use it or lose it" expiration date by which a license must be exercised to prevent reversion to the original rights holder. If, by chance, these works ever actually ''do'' see distribution, expect SnarkBait. See also FranchiseZombie for other examples of shameless IP exploitation.

to:

In the wider culture, "ashcan copy" has stuck around to describe any crappy proof-of-sort-of-concept production work that exists solely because of the strange intricacies of trademark and licensing law -- especially in the US, where television or movie adaptation contracts often have a "use it or lose it" expiration date by which a license must be exercised to prevent reversion to the original rights holder. holder.

If, by chance, these works ever actually ''do'' see distribution, expect SnarkBait. See also FranchiseZombie for other examples of shameless IP exploitation.



* DC Comics, owner of ComicBook/WonderWoman, made a huge mistake at the time of the character's inception: they never thought about making a "Wonder Man". Marvel Comics played a prank to them by doing so first. They were not serious about it: it was a one time villain, who dies at the end of his single adventure. But when the rights to this minor character were about to expire (and DC would be able to use them), Marvel Comics resurrected the character and gave him a recurring role in the Avengers series, retaining the rights.
* Marvel has pulled the same stealth claim trick more than once: after DC sued Fawcett regarding how close [[ComicBook/{{Shazam}} Captain Marvel]] was to their own Franchise/{{Superman}}, Marvel noticed that the superhero's name was legally up for grabs and created their own [[ComicBook/CaptainMarVell Captain Marvel]] (given the company name, they couldn't be blamed). Then DC bought Fawcett and incorporated the now rebranded ''ComicBook/{{Shazam}}'' into their universe. In order to avoid the trademark falling into disuse and thus becoming available to their biggest competitors, Marvel has had to publish a ''Captain Marvel'' title every year or two since, leading to a number of ongoing series, limited series and one-shots featuring a range of characters using the Captain Marvel alias (the original Mar-Vell, many of his sons and clones, and the current incarnation who used to go by Comicbook/MsMarvel).

to:

* DC Comics, owner of ComicBook/WonderWoman, made a huge mistake at the time of the character's inception: they never thought about making a "Wonder Man". Marvel Comics played a prank to on them by doing so first. They were not serious about it: it didn't take this very seriously: he was a one time villain, one-time villain who dies died at the end of his single adventure. the story. But when the rights to this minor character were about to expire (and DC would be able to use them), lay claim to the name), Marvel Comics resurrected the character and gave him a recurring role in the Avengers series, retaining the rights.
* Marvel has pulled the same stealth claim trick more than once: after DC sued Fawcett regarding how close [[ComicBook/{{Shazam}} Captain Marvel]] was to their own Franchise/{{Superman}}, Marvel noticed that the superhero's name was legally up for grabs and created their own [[ComicBook/CaptainMarVell Captain Marvel]] (given the company name, they couldn't be blamed). Then DC bought Fawcett and incorporated the now rebranded ''ComicBook/{{Shazam}}'' into their universe. In order to avoid the trademark falling into disuse and thus becoming available to their biggest competitors, Marvel has had to publish a at least one ''Captain Marvel'' title every year or two since, leading to a number of ongoing series, limited series and one-shots featuring a range of characters using the Captain Marvel alias (the original Mar-Vell, many of his sons and clones, and the current incarnation who used to go by Comicbook/MsMarvel).



* Marvel has had huge success with movie adaptations of its superhero characters, including the sprawling, interconnected Marvel Cinematic Universe continuity, financed and produced in-house. However, three of the most popular Marvel properties -- Spiderman, the Fantastic Four, and the X-Men -- are conspicuous by their absence in the MCU. Marvel sold off movie rights to their best-known characters to make ends meet during a period of financial troubles in the late 1990s. In the 2000s, a new approach to production spearheaded by Jerry Calabrese and Avi Arad lead to a string of successful projects and eventually to a preference for in-house financing and production over licensing to an outside studio. Characters like Iron Man and Captain America were considered second- or third-string heroes in the comics world, but at least Marvel still held their movie rights free and clear.
** The 1994 ''Film/TheFantasticFour'' movie was ashcan fodder extraordinaire. The studio was given a certain number of years to make a film or lose the rights forever. It was made on the cheap, produced by famed BMovie schlock-meister Creator/RogerCorman, and never got a wide release. It only exists in bootleg copies, some of which have made their way [[https://www.youtube.com/watch?v=QW5rLyzFWJM online]].
** ''Film/FantasticFour2015'' didn't fare any better, rushed out to meet yet another deadline for Creator/TwentiethCenturyFox to produce a film or see the characters revert to Marvel. Fox's main concern was not only the potential lost revenue from (higher quality) future releases but also strengthening one of their direct competitors. This cynical impetus led to a TroubledProduction faced with ExecutiveMeddling and [[InternetBackdraft an infuriated fanbase]] from without, and director Josh Trank's CreatorBreakdown and multiple {{Special Effect Failure}}s from within. The final result was a significant BoxOfficeBomb and one of the worst-reviewed comic book movies ever made, [[DisownedAdaptation disowned by Marvel itself]] [[CreatorBacklash and badmouthed by the director and many other members of the cast and crew]]. A planned sequel vanished from Fox's release calendar in November of 2015. Many critics suggested Fox could have made more money without even bothering to make a movie, by simply selling the rights back to Marvel Studios or striking a deal to allow reciprocal character appearances with the MCU, like Sony did after the diminishing returns of ''Film/TheAmazingSpiderManSeries''.
** Creator/{{Sony}}'s Spider-Man license was originally doing much better than Fox and the Fantastic Four, and in fact is sometimes credited with kickstarting the current era of superhero movies. However, after Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story was greenlit with an all-new cast and crew. ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' has often been accused of being created solely to extend Sony's reversion deadline.\\\
Here's where things get wacky. The rebooted film was a big enough hit to generate talk of a franchise of its own to rival the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up a critical and box office failure, derailing all of Sony's carefully-laid plans to make Peter Parker into a meta-franchise. Sony was scrambling for any viable ideas; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). After the 2014 Sony email hack revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home" led Sony to sign a deal in early 2015 to allow reciprocal character appearances with Marvel Studios.
** Of the three major Marvel franchises still held by outside studios, Fox's X-Men has most successfully averted the need for an ashcan installment. While the quality of the films has been uneven (from the high of ''Days of Future Past'' to the low of ''Origins: Wolverine''), the release schedule has been steady and the budgets have all been what one would expect for a major theatrical release.

to:

* Marvel has had huge success with movie adaptations of its superhero characters, including the sprawling, interconnected Marvel Cinematic Universe continuity, financed and produced in-house. However, three of the most popular Marvel properties -- Spiderman, the Fantastic Four, and the X-Men -- are conspicuous by their absence in the MCU. Marvel sold off movie rights to their best-known characters to make ends meet during a period of financial troubles in the late 1990s. 1990s, even though their characters had never yet been successfully adapted to the big screen. In the 2000s, a new approach to production development spearheaded by Jerry Calabrese and Avi Arad lead to a string of successful projects films by outside studios, and eventually to a preference for Marvel experimenting with in-house financing and movie production over licensing to an outside studio. rather than licensing. Characters like Iron Man and Captain America were considered second- or third-string heroes in the comics world, but at least Marvel still held their movie rights free and clear.
clear, so they made do with what was available and were rewarded with several smash hits. Since then, Marvel has been very interested in permanently reclaiming properties that could be added to the MCU, and their licensees have resorted to ashcanning productions to hold on to their movie rights.
** The 1994 ''Film/TheFantasticFour'' movie was ashcan fodder extraordinaire. The studio was given a certain number on the verge of years to make a film or lose losing the rights forever. It forever, so it was made on the cheap, produced by famed BMovie schlock-meister Creator/RogerCorman, and never got a wide release. It only exists only in bootleg copies, some of which have made their way [[https://www.youtube.com/watch?v=QW5rLyzFWJM online]].
** ''Film/FantasticFour2015'' didn't fare any better, rushed out to meet yet another deadline for Creator/TwentiethCenturyFox to produce a film or see the characters revert to Marvel. Fox's main concern was not only the potential lost revenue from (higher quality) future releases but also strengthening one of their direct competitors. This cynical impetus led to a TroubledProduction TroubledProduction, faced with ExecutiveMeddling and [[InternetBackdraft an infuriated fanbase]] from without, and director Josh Trank's CreatorBreakdown and multiple {{Special Effect Failure}}s from within. The final result was a significant BoxOfficeBomb and one of the worst-reviewed comic book movies ever made, [[DisownedAdaptation disowned by Marvel itself]] [[CreatorBacklash and badmouthed by the director and many other members of the cast and crew]]. A planned sequel vanished from Fox's release calendar in November of 2015. Many critics suggested Fox could have made more money without even bothering to make release a movie, by simply selling the rights back to Marvel Studios or striking a deal to allow reciprocal character appearances with the MCU, like Sony did after the diminishing returns of ''Film/TheAmazingSpiderManSeries''.
** Creator/{{Sony}}'s Spider-Man license was originally doing much better than Fox and the Fantastic Four, and in fact is sometimes credited with kickstarting the current era of superhero movies. However, after Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story was greenlit with an all-new cast and crew. called ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' has often been accused of being created was greenlit with an all-new cast and crew. Critics alleged the project was revived solely to extend Sony's reversion deadline.\\\
Here's where things get wacky. The
deadline, but the rebooted film was (unexpectedly) a big enough hit to generate talk of a franchise of its own to rival compete with the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up a critical and box office failure, derailing all of Sony's carefully-laid plans to make Peter Parker into a meta-franchise. Sony was scrambling for any viable ideas; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). After the 2014 Sony email hack revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home" led Sony to sign a deal in early 2015 to allow reciprocal character appearances with Marvel Studios.
Studios, improving their chances of holding onto the license in the long term.
** Of the three major Marvel franchises still held by outside studios, Fox's X-Men has most successfully averted the need for an ashcan installment. While the quality of the films has been uneven (from the high of ''Days of Future Past'' to the low of ''Origins: Wolverine''), the release schedule has been steady and steady, the budgets have all been what one would expect for a major theatrical release.release, and the latest installment, ''X-Men: Apocalypse'', was a box office success.



* Creator/WarnerBros produced TV pilot called ''Black Bart'' based on ''Film/BlazingSaddles'' just to retain the sequel rights to that film. Creator/MelBrooks explained that he opposed the studio's desire for sequels and included a clause in his contract that all sequel and spinoff rights would revert to him unless Warner Bros. made a movie or TV show based on the film within six months of theatrical release. Brooks knew that the studio couldn't produce a second movie in that time frame, and knew that network TV would never be able to get a TV show based on ''Blazing Saddles'' [[GettingCrapPastTheRadar past the broadcast censors]]. However, Warner Bros. realized that there was a loophole in the contract: to retain the rights, they only had to ''make'' a spinoff -- there was no requirement to actually ''air'' it. So the studio secretly produced a TV pilot with CBS (a 24-minute synopsis of the movie with Louis Gossett Jr. as Bart and language that the network would never allow on air) and put it away for safekeeping. Several years later, they asked Brooks to make a sequel, and when he refused on the grounds that they no longer held the rights, the execs brought Brooks onto the CBS lot and screened the pilot for him to prove their point -- although the sequel project died on its merits some time later. The ''Black Bart'' pilot only ever saw the light of day as a bonus feature on the ''Blazing Saddles'' DVD release.

to:

* Creator/WarnerBros produced TV pilot called ''Black Bart'' based on ''Film/BlazingSaddles'' just to retain the sequel rights to that film. Creator/MelBrooks explained that he opposed the studio's desire for sequels and included a clause in his contract that all sequel and spinoff rights would revert to him unless Warner Bros. made a movie or TV show based on the film within six months of theatrical release. Brooks knew that the studio couldn't produce a second movie in that time frame, and knew that network TV would never be able to get a TV show based on ''Blazing Saddles'' [[GettingCrapPastTheRadar past the broadcast censors]]. However, Warner Bros. realized that there was a loophole in the contract: to retain the rights, they only had to ''make'' a spinoff -- there was no requirement to actually ''air'' it. So the studio secretly produced a TV pilot with CBS (a 24-minute synopsis of the movie with Louis Gossett Jr. as Bart and language that the network would never allow on air) and put it away for safekeeping. Several years later, they asked Brooks to make a sequel, and when he refused on the grounds that they no longer held the rights, the execs brought Brooks onto the CBS lot and screened the pilot for him to prove their point -- although the sequel project died on its merits some time later. The ''Black Bart'' pilot only ever saw the light of day as a bonus feature on the ''Blazing Saddles'' DVD release.
23rd Dec '16 6:18:22 AM Thenakedcat
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A cheaply and quickly produced work, not intended to be shown to the masses and disseminated only to the extent required to fulfill some non-artistic obligation like claiming a trademark.

The term originated in UsefulNotes/TheGoldenAgeOfComicBooks, when there was a big rush to copyright as many characters and titles as possible, but the actual production time of a comic book made it a bit problematic when days or even hours mattered. The solution? Create a simple mock comic, often just a cover and some unrelated filler made up of garbage sheets, and submit it to the copyright office. The term itself comes from the fact that these comics often weren't actually distributed to newsstands, just going straight to the ashcan (period vernacular for trashcan) once they did their job.

to:

A cheaply and quickly produced work, not intended to be shown to the masses and disseminated only to the minimum extent required to fulfill some non-artistic obligation like claiming a trademark.

The term originated in UsefulNotes/TheGoldenAgeOfComicBooks, when there was a big rush to copyright as many characters and titles as possible, but the actual production time of a comic book made it a bit problematic when available was measured in days or even hours mattered.hours, far too short to put out a real comic. The solution? Create a simple mock comic, often just a cover and some unrelated filler made up of garbage sheets, and submit it to the copyright office. The term itself comes from the fact that these comics often weren't actually distributed to newsstands, just going straight to the ashcan (period vernacular for trashcan) once they did their job.
purpose had been served.



If, by chance, these works ever actually ''do'' see distribution, expect SnarkBait. See also FranchiseZombie for other cases of exploiting a trademark.

This is mostly an American (and sometimes, Western) trope, due of the notorious way how copyright laws works in the U.S., albeit some non-Western cases could happened as well.

to:

In the wider culture, "ashcan copy" has stuck around to describe any crappy proof-of-sort-of-concept production that exists solely because of the strange intricacies of trademark and licensing law -- especially in the US, where television or movie adaptation contracts often have a "use it or lose it" expiration date by which a license must be exercised to prevent reversion to the original rights holder. If, by chance, these works ever actually ''do'' see distribution, expect SnarkBait. See also FranchiseZombie for other cases examples of exploiting a trademark.

This is mostly an American (and sometimes, Western) trope, due of the notorious way how copyright laws works in the U.S., albeit some non-Western cases could happened as well.
shameless IP exploitation.



* DC Comics, owner of ComicBook/WonderWoman, made a huge mistake at the time of the character's inception: they never thought about making a "Wonder Man". Marvel Comics played a prank to them by doing so first. They were not serious about it: it was a one time villain, who dies at the end of his single adventure. But, when the rights to this minor character were about to expire (and DC would be able to use them), Marvel Comics resurrected the character and turned it into a steady character for the Avengers, retaining the rights.
* Marvel has another case: after DC sued Fawcett regarding how close [[ComicBook/{{Shazam}} Captain Marvel]] was to their own Franchise/{{Superman}}, Marvel noticed that the name was legally up for grabs created their own [[ComicBook/CaptainMarVell Captain Marvel]] (given the company name, they couldn't be blamed). Then DC bought Fawcett and incorporated the now rebranded ''ComicBook/{{Shazam}}'' into their universe. In turn, Marvel has had to publish a ''Captain Marvel'' title every year or two since, leading to a number of ongoing series, limited series and one-shots featuring a range of characters using the Captain Marvel alias (the original Mar-Vell, many of his sons and clones, and the current one that used to go by Comicbook/MsMarvel).

to:

* DC Comics, owner of ComicBook/WonderWoman, made a huge mistake at the time of the character's inception: they never thought about making a "Wonder Man". Marvel Comics played a prank to them by doing so first. They were not serious about it: it was a one time villain, who dies at the end of his single adventure. But, But when the rights to this minor character were about to expire (and DC would be able to use them), Marvel Comics resurrected the character and turned it into gave him a steady character for recurring role in the Avengers, Avengers series, retaining the rights.
* Marvel has another case: pulled the same stealth claim trick more than once: after DC sued Fawcett regarding how close [[ComicBook/{{Shazam}} Captain Marvel]] was to their own Franchise/{{Superman}}, Marvel noticed that the superhero's name was legally up for grabs and created their own [[ComicBook/CaptainMarVell Captain Marvel]] (given the company name, they couldn't be blamed). Then DC bought Fawcett and incorporated the now rebranded ''ComicBook/{{Shazam}}'' into their universe. In turn, order to avoid the trademark falling into disuse and thus becoming available to their biggest competitors, Marvel has had to publish a ''Captain Marvel'' title every year or two since, leading to a number of ongoing series, limited series and one-shots featuring a range of characters using the Captain Marvel alias (the original Mar-Vell, many of his sons and clones, and the current one that incarnation who used to go by Comicbook/MsMarvel).



* While most prevalent in comics, other entertainment fields have done similar things, including the 1994 ''Film/TheFantasticFour'' movie. The studio was given a certain number of years to make a film and would lose the rights if none was produced. It was made on the cheap and produced by famed BMovie schlock-meister Creator/RogerCorman and never got a wide release. It only exists in bootleg copies, including [[https://www.youtube.com/watch?v=QW5rLyzFWJM online ones]].
* ''Film/FantasticFour2015'' didn't fare any better. The film was rushed to meet a deadline for Creator/TwentiethCenturyFox to keep the film rights of the Marvel characters as opposed to letting them revert back to Marvel Studios. The key concern by Fox with production is that Marvel would then be able to integrate the characters into the Franchise/MarvelCinematicUniverse, which would both cost Fox a property that they could still profit from and strengthen one of their direct competitors. The initiative behind the reboot led to a TroubledProduction faced with the issues of ExecutiveMeddling and [[InternetBackdraft an infuriated fanbase]] from without, and director Josh Trank's CreatorBreakdown and multiple {{Special Effect Failure}}s from within. The final result was a significant BoxOfficeBomb and one of the worst-reviewed comic book movies ever made, [[DisownedAdaptation disowned by Marvel itself]] [[CreatorBacklash and badmouthed by the director, along many people involved with the production]]. A planned sequel to the film vanished from Fox's release calendar in November of 2015. Many have expressed the opinion that Fox would have made more money if they had simply sold the rights back to Marvel Studios instead of going through the trouble of making another movie, or struck a deal with Marvel Studios to have the characters appear in the MCU like Sony did after the diminishing returns of ''Film/TheAmazingSpiderManSeries''.
* The 1966 adaptation of ''Literature/TheHobbit'' was this. Producer Bill Snyder bought the rights to make a film from J.R.R. Tolkien's (1892-1973) estate on the cheap, and just before it was set to expire the popularity of Tolkien's ''Literature/LordOfTheRings'' books skyrocketed. Realizing he could make serious cash selling the rights, he decided to get it extended. However, a film had to be made and released in order for that to happen. With the contract set to expire in one month, he got Gene Deitch to hastily produce a 12 minute film using still drawings and got it finished in 30 days, which was then screened in a Manhattan theater on the day the contract expired. The deal being fulfilled, the contract was extended and Snyder sold the rights for $100,000 (in 1960s money). In 2012 the film finally resurfaced when Snyder's son [[http://www.youtube.com/watch?v=UBnVL1Y2src uploaded it on YouTube]].

to:

* While most prevalent the Ashcan Copy originated in comics, many contemporary cases involve movie concepts optioned from other entertainment fields have done similar things, media, as such contracts usually include reversion clauses and film development is a notoriously [[DevelopmentHell lengthy and troubled process]].
* Marvel has had huge success with movie adaptations of its superhero characters,
including the sprawling, interconnected Marvel Cinematic Universe continuity, financed and produced in-house. However, three of the most popular Marvel properties -- Spiderman, the Fantastic Four, and the X-Men -- are conspicuous by their absence in the MCU. Marvel sold off movie rights to their best-known characters to make ends meet during a period of financial troubles in the late 1990s. In the 2000s, a new approach to production spearheaded by Jerry Calabrese and Avi Arad lead to a string of successful projects and eventually to a preference for in-house financing and production over licensing to an outside studio. Characters like Iron Man and Captain America were considered second- or third-string heroes in the comics world, but at least Marvel still held their movie rights free and clear.
** The
1994 ''Film/TheFantasticFour'' movie. movie was ashcan fodder extraordinaire. The studio was given a certain number of years to make a film and would or lose the rights if none was produced. forever. It was made on the cheap and cheap, produced by famed BMovie schlock-meister Creator/RogerCorman Creator/RogerCorman, and never got a wide release. It only exists in bootleg copies, including some of which have made their way [[https://www.youtube.com/watch?v=QW5rLyzFWJM online ones]].
*
online]].
**
''Film/FantasticFour2015'' didn't fare any better. The film was better, rushed out to meet a yet another deadline for Creator/TwentiethCenturyFox to keep the produce a film rights of the Marvel characters as opposed to letting them revert back to Marvel Studios. The key concern by Fox with production is that Marvel would then be able to integrate or see the characters into revert to Marvel. Fox's main concern was not only the Franchise/MarvelCinematicUniverse, which would both cost Fox a property that they could still profit potential lost revenue from and strengthen (higher quality) future releases but also strengthening one of their direct competitors. The initiative behind the reboot This cynical impetus led to a TroubledProduction faced with the issues of ExecutiveMeddling and [[InternetBackdraft an infuriated fanbase]] from without, and director Josh Trank's CreatorBreakdown and multiple {{Special Effect Failure}}s from within. The final result was a significant BoxOfficeBomb and one of the worst-reviewed comic book movies ever made, [[DisownedAdaptation disowned by Marvel itself]] [[CreatorBacklash and badmouthed by the director, along director and many people involved with other members of the production]]. cast and crew]]. A planned sequel to the film vanished from Fox's release calendar in November of 2015. Many have expressed the opinion that critics suggested Fox would could have made more money if they had without even bothering to make a movie, by simply sold selling the rights back to Marvel Studios instead of going through the trouble of making another movie, or struck striking a deal to allow reciprocal character appearances with Marvel Studios to have the characters appear in the MCU MCU, like Sony did after the diminishing returns of ''Film/TheAmazingSpiderManSeries''.
** Creator/{{Sony}}'s Spider-Man license was originally doing much better than Fox and the Fantastic Four, and in fact is sometimes credited with kickstarting the current era of superhero movies. However, after Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story was greenlit with an all-new cast and crew. ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' has often been accused of being created solely to extend Sony's reversion deadline.\\\
Here's where things get wacky. The rebooted film was a big enough hit to generate talk of a franchise of its own to rival the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up a critical and box office failure, derailing all of Sony's carefully-laid plans to make Peter Parker into a meta-franchise. Sony was scrambling for any viable ideas; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). After the 2014 Sony email hack revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home" led Sony to sign a deal in early 2015 to allow reciprocal character appearances with Marvel Studios.
** Of the three major Marvel franchises still held by outside studios, Fox's X-Men has most successfully averted the need for an ashcan installment. While the quality of the films has been uneven (from the high of ''Days of Future Past'' to the low of ''Origins: Wolverine''), the release schedule has been steady and the budgets have all been what one would expect for a major theatrical release.
* The 1966 adaptation of ''Literature/TheHobbit'' was this. ''Literature/TheHobbit''. Producer Bill Snyder bought the flim rights to make a film from J.R.R. Tolkien's (1892-1973) estate Tolkien on the cheap, and just before it was they were set to expire the popularity of Tolkien's ''Literature/LordOfTheRings'' books skyrocketed. Realizing he could make serious cash selling the rights, he decided a tidy return on his investment, Snyder set out to get it extended.the rights extended long enough to negotiate a resale. However, a film had to be made and released in order for that to happen. With the contract set to expire in one month, he got Gene Deitch to hastily produce a 12 minute film using still drawings and got it finished in 30 days, drawings, which was then screened in a single Manhattan theater on the day the contract expired. The deal being fulfilled, was set to expire. With its conditions fulfilled in the narrowest possible sense, the contract was duly extended and Snyder sold the rights for $100,000 (in 1960s money). In 2012 the film finally resurfaced when Snyder's son [[http://www.youtube.com/watch?v=UBnVL1Y2src uploaded it on YouTube]].



* Critics of Creator/{{Sony}}'s ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' have often accused it of being this. Much like 20th Century Fox's ''Fantastic Four'' reboot in 2015, it's been argued that ''Film/TheAmazingSpiderMan'' was born from a deadline that Sony had to meet if it wanted to keep the ComicBook/SpiderMan film rights from reverting back to Creator/MarvelComics (who, by that stage, would never be giving the rights back). After Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story was put into production with an all-new cast and crew.\\\
Here's where things get wacky. The rebooted film was a big enough hit to generate talk of a franchise of its own to rival the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up disappointing with critics and at the box office, derailing all of Sony's carefully-laid plans to hinge their future blockbuster hopes on Peter Parker. Sony started scrambling, throwing any idea at the wall to see if anything stuck; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). Eventually, after the infamous hack of Sony's email servers in 2014 revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home", as it were, led Sony to do just that in early 2015, signing a deal that would let them maintain co-ownership of the film rights with Marvel.
* Creator/MattDamon, in [[http://screenrant.com/matt-damon-interviews-jason-bourne-promised-land/ an interview]] with Screen Rant, stated that ''Film/TheBourneLegacy'' was made entirely because Creator/{{Universal}}'s contract with the Creator/RobertLudlum estate would have expired by 2012 if they didn't make another Bourne film, yet Damon was busy and couldn't reprise the role. As such, they cast Creator/JeremyRenner as a new character, Aaron Cross, and made the movie without him. They did eventually make another ''Bourne'' movie with Damon, titled simply ''Film/JasonBourne''.

to:

* Critics of Creator/{{Sony}}'s ''[[Film/TheAmazingSpiderManSeries Amazing Spider-Man Series]]'' have often accused it of being this. Much like 20th Century Fox's ''Fantastic Four'' reboot in 2015, it's been argued that ''Film/TheAmazingSpiderMan'' was born from a deadline that Sony had to meet if it wanted to keep the ComicBook/SpiderMan film rights from reverting back to Creator/MarvelComics (who, by that stage, would never be giving the rights back). After Creator/SamRaimi's fourth ''[[Film/SpiderManTrilogy Spider-Man]]'' movie [[TroubledProduction fell apart in the planning stage]], a rebooted origin story was put into production with an all-new cast and crew.\\\
Here's where things get wacky. The rebooted film was a big enough hit to generate talk of a franchise of its own to rival the Franchise/MarvelCinematicUniverse, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before [[Film/TheAmazingSpiderMan2 the second film]] came out, Sony was hyping up {{spinoff}}s focusing on ComicBook/{{Venom}} and the Film/SinisterSix. However, ''The Amazing Spider-Man 2'' wound up disappointing with critics and at the box office, derailing all of Sony's carefully-laid plans to hinge their future blockbuster hopes on Peter Parker. Sony started scrambling, throwing any idea at the wall to see if anything stuck; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly [[http://www.cinemablend.com/new/What-Sony-Has-Say-About-Spider-Man-Aunt-May-Movie-68174.html quashed by Sony]], but which [[TheTysonZone people had no problem believing]]). Eventually, after the infamous hack of Sony's email servers in 2014 revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home", as it were, led Sony to do just that in early 2015, signing a deal that would let them maintain co-ownership of the film rights with Marvel.
* Creator/MattDamon, in [[http://screenrant.com/matt-damon-interviews-jason-bourne-promised-land/ an interview]] with Screen Rant, stated that ''Film/TheBourneLegacy'' was made entirely because Creator/{{Universal}}'s contract with the Creator/RobertLudlum estate would have expired by in 2012 if they didn't make another Bourne film, yet Damon was busy and couldn't reprise the leading role. As such, they cast Creator/JeremyRenner as a new character, Aaron Cross, and made the movie [[InNameOnly without him.the title character]]. They did eventually make another ''Bourne'' movie with Damon, titled simply ''Film/JasonBourne''.



* This trope was parodied in ''Series/ArrestedDevelopment'', where a fictional version of the [=90s=] ''Fantastic Four'' movie is stated to be one of several movies made by Imagine Entertainment ([[SelfDeprecation the studio that makes the show]]) for the same reason as the real life one was: Ron Howard was told by a drunk lawyer at the company Christmas party that Imagine's license on the ''Fantastic Four'' would expire if it remained unused for six more days. They made a film where the people working the bar were hired to be the actors, then hired them to work at the film's wrap party five days later.

to:

* This trope was parodied in ''Series/ArrestedDevelopment'', where a fictional version of the [=90s=] ''Fantastic Four'' movie is stated to be one of several movies made by Imagine Entertainment ([[SelfDeprecation the studio that makes the show]]) for show]]), with the same reason as "crappy production" feature of the real life one was: Ashcan Copy turned UpToEleven: Ron Howard was told by a drunk lawyer at the company Christmas party that Imagine's license on the ''Fantastic Four'' would expire if it remained unused for unless a film was made within the next six more days. They made a immediately cast the film where with the people working bartenders from the bar were hired to be the actors, party, then hired them the same bartenders to work at the film's wrap party five days later.



* A TV pilot called ''Black Bart'', based on ''Film/BlazingSaddles'', was produced just to preserve the sequel rights to that film. Creator/MelBrooks explained that Creator/WarnerBros wanted to make sequels to ''Blazing Saddles'', something that Brooks opposed. To attempt to secure the sequel rights, Brooks included a clause in his contract for ''Blazing Saddles'' that all sequel and spinoff rights would revert to him unless Warner Bros. made a sequel movie or a TV spinoff within six months of the release of the film. Brooks knew that they couldn't make a sequel so quickly, and knew that network TV would never be able to air a TV show based on ''Blazing Saddles''. However, to ensure they would hold the rights, Warner Bros. produced a pilot with CBS, and quietly kept it. Several years later, they asked Brooks to make a sequel, and when he refused and said they didn't hold the rights anymore, they took Brooks onto the lot at CBS and screened the pilot episode for him. Brooks realized that the contract only specified that they had to ''make'' a TV show to hold on to sequel rights (which they ultimately never used), not actually air it. The ''Black Bart'' pilot was eventually released to the public as a bonus feature to a DVD release of ''Blazing Saddles'', and it was basically a condensed 24 minute version of the movie, with Louis Gossett Jr. as Bart and plenty of language that made it clear that the show would never air on network TV.
* In 2010, Creator/TurnerClassicMovies quietly aired [[http://www.tcm.com/this-month/article.html?id=484547%7C488308 a bizarre special]] in which Leonard Matlin interviewed Creator/WarrenBeatty in character as ComicStrip/DickTracy. This special was made solely so that Beatty could hold onto the rights to make a second ''Film/DickTracy'' film, as he was still interested in making a sequel.

to:

* A Creator/WarnerBros produced TV pilot called ''Black Bart'', Bart'' based on ''Film/BlazingSaddles'', was produced ''Film/BlazingSaddles'' just to preserve retain the sequel rights to that film. Creator/MelBrooks explained that Creator/WarnerBros wanted to make he opposed the studio's desire for sequels to ''Blazing Saddles'', something that Brooks opposed. To attempt to secure the sequel rights, Brooks and included a clause in his contract for ''Blazing Saddles'' that all sequel and spinoff rights would revert to him unless Warner Bros. made a sequel movie or a TV spinoff show based on the film within six months of the release of the film. theatrical release. Brooks knew that they the studio couldn't make produce a sequel so quickly, second movie in that time frame, and knew that network TV would never be able to air get a TV show based on ''Blazing Saddles''. Saddles'' [[GettingCrapPastTheRadar past the broadcast censors]]. However, to ensure they would hold the rights, Warner Bros. realized that there was a loophole in the contract: to retain the rights, they only had to ''make'' a spinoff -- there was no requirement to actually ''air'' it. So the studio secretly produced a TV pilot with CBS, CBS (a 24-minute synopsis of the movie with Louis Gossett Jr. as Bart and quietly kept it. language that the network would never allow on air) and put it away for safekeeping. Several years later, they asked Brooks to make a sequel, and when he refused and said on the grounds that they didn't hold no longer held the rights anymore, they took rights, the execs brought Brooks onto the CBS lot at CBS and screened the pilot episode for him. Brooks realized that him to prove their point -- although the contract only specified that they had to ''make'' a TV show to hold on to sequel rights (which they ultimately never used), not actually air it. project died on its merits some time later. The ''Black Bart'' pilot was eventually released to only ever saw the public light of day as a bonus feature to a DVD release of on the ''Blazing Saddles'', and it was basically a condensed 24 minute version of the movie, with Louis Gossett Jr. as Bart and plenty of language that made it clear that the show would never air on network TV.
Saddles'' DVD release.
* In 2010, Creator/TurnerClassicMovies quietly aired [[http://www.tcm.com/this-month/article.html?id=484547%7C488308 a bizarre special]] in which Leonard Matlin interviewed Creator/WarrenBeatty in character as ComicStrip/DickTracy. This special was made solely so that Beatty could hold onto extend the rights he held to make a second ''Film/DickTracy'' film, as he was still interested in making a sequel.film.



* The 'contractual obligation album'. When an artist has to produce a certain number of records for a label and wants out of their contract, a common way to go about this is to essentially dump the stuff that didn't make the cut for their other albums (B-sides, demos, live performances, and assorted unreleased content) onto a record and push it out the door. The appropriately-titled ''AudioPlay/MontyPythonsContractualObligationAlbum'' is a typical example. Sometimes, they won't even care that much, and will simply release a GreatestHitsAlbum to do this.
* Music/BobDylan's ''[[MeaningfulName The Copyright Extension Collection]]'' was an official 4-CDR release by Sony of many unreleased sessions and alternate takes from the early 60s. Much of this music was not considered commercially viable, so had not been released. However, the rules at the time the music was made was that it would go into the Public Domain after 50 years unless it was released officially. As the title suggests, it was released as a way of renewing the copyright. They did not want to draw much attention to it, so released it as a limited edition of 100 copies in Germany and some other parts of Europe, and did not promote it. The set became immensely popular and copies sell for high prices - the music has not been released again. Ironically, its limited availability and official status has encouraged far more downloading than it would have done if they had let it pass into the public domain.

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* The 'contractual obligation album'. When an artist has wants out of their contract but is required to produce a certain number of records for a label and wants out of their contract, a common way to go about this is to essentially albums first, they will often dump the stuff ragtag recordings that didn't make the cut for their other albums (B-sides, demos, live performances, and assorted unreleased content) onto into a record CD case and push it out the door. The appropriately-titled ''AudioPlay/MontyPythonsContractualObligationAlbum'' is a typical example. Sometimes, they the artist won't even care that much, enough to release previously-unheard material, and will simply release compile a GreatestHitsAlbum to do this.
* Music/BobDylan's ''[[MeaningfulName The Copyright Extension Collection]]'' was an official 4-CDR release by Sony of many unreleased sessions and alternate takes from the early 60s. Much of this music had remained unrealeased simply because it was not considered commercially viable, so had not been released. However, but the rules at the time the music copyright laws in effect when it was made was that it would go into open it to the Public Domain after 50 years public domain unless it was released officially. As the title suggests, it was released as a way of renewing the copyright. They studio publicly exercised its copyright within 50 years. The studio did not want to draw much attention to it, this calculated business decision, so released it the album as a limited edition of 100 copies in Germany and some other parts of Europe, and did not promote it.just a few European markets with little promotion. The set became immensely popular and copies sell for high prices - the music has not been released again. Ironically, its limited availability and official status has encouraged far more downloading than if it would have done if they had let it pass passed unnoticed into the public domain.



* In a non-Western example of this, Japan had a law prohibiting arcade cabinets from being distributed without games. Manufacturers obliged by providing very simple games good for little else but testing the monitors and controls. Creator/{{Sega}}'s ''Dottori-kun'' and Creator/{{Taito}}'s ''Minivader'' are typical examples, featuring primitive black-and-white graphics and no sound.

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* In a non-Western example of this, example, Japan had a law prohibiting arcade cabinets from being distributed without games. Manufacturers obliged by providing very simple games good for little else but testing the monitors and controls. Creator/{{Sega}}'s ''Dottori-kun'' and Creator/{{Taito}}'s ''Minivader'' are typical examples, featuring primitive black-and-white graphics and no sound.



* ''VideoGame/TonyHawksProSkater 5'' has been [[http://www.hardcoregamer.com/2015/10/02/wait-is-tony-hawks-pro-skater-5-an-ashcan-copy/170093/ suggested]] to be this, given that it was released in [[ObviousBeta a horribly unfinished state]] with {{game breaking bug}}s galore. Professional skateboarder Tony Hawk's long-term contract with Creator/{{Activision}}, signed in 2002, was set to expire at the end of 2015, and so (it is claimed) Activision rushed the game out the door in September of that year as one last cash-grab (and possibly to renew interest such that a new deal could be signed).

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* ''VideoGame/TonyHawksProSkater 5'' has been [[http://www.hardcoregamer.com/2015/10/02/wait-is-tony-hawks-pro-skater-5-an-ashcan-copy/170093/ suggested]] to be this, called]] an Ashcan Copy, given that it was released in [[ObviousBeta a horribly unfinished state]] with {{game breaking bug}}s galore. Professional skateboarder Tony Hawk's long-term contract with Creator/{{Activision}}, signed in 2002, was set to expire at the end of 2015, and so (it is claimed) Activision allegedly rushed the game out the door in September of that year as one last cash-grab (and possibly to renew generate enough renewed interest such that to put a new deal could be signed).on the table).



* This trope is the first point on ''Website/{{Cracked}}'' writer David Christopher Bell's list of [[http://www.cracked.com/blog/6-reasons-why-every-damn-movie-sequel-nowadays/ "6 Brilliant Explanations For Why Modern Movies Are So Stupid"]], describing it as "a juggling act of rushed sequels". He goes into several cases of movies being made solely to hold onto the rights, including the ''Fantastic Four'', ''Dick Tracy'', ''Bourne Legacy'', and ''Hellraiser: Revelations'' examples listed above.

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* This trope is the first point on ''Website/{{Cracked}}'' writer David Christopher Bell's list of [[http://www.cracked.com/blog/6-reasons-why-every-damn-movie-sequel-nowadays/ "6 Brilliant Explanations For Why Modern Movies Are So Stupid"]], describing it as "a juggling act of rushed sequels". He goes into mentions several cases of movies being made solely to hold onto the retain franchise rights, including the ''Fantastic Four'', ''Dick Tracy'', ''Bourne Legacy'', and ''Hellraiser: Revelations'' examples listed above.
21st Oct '16 6:29:07 AM hyphz
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Added DiffLines:

* The Spectrum version of ''SQIJ!'' is often considered this. The author wrote it to fulfill his contract with his publisher, The Power House, even though he had no real interest in working for them. The game is horribly slow, has no proper collision detection, and shipped with a game-breaking bug caused by the Caps Lock key being incorrectly enabled.
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http://tvtropes.org/pmwiki/article_history.php?article=Main.AshcanCopy