History Main / MisBlamed

24th Sep '16 6:00:39 PM nombretomado
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* Watching ESPN's documentary, ''[[http://30for30.espn.com/film/small-potatoes-who-killed-the-usfl.html Small Potatoes: Who Killed the USFL?]]'' the answer to the titular question would seem to be "DonaldTrump". While Trump, as owner of the New Jersey Generals, started a bidding war with the NFL over college players (one that most USFL owners didn't have the resources to compete in), the real downfall of the league -- the disastrous decision to move from spring to fall and compete directly with the NFL -- couldn't have been done without a consensus of owners going along with Trump. Much like the Vince Russo entries above, it's unfair to say he single-handedly destroyed the league. Though Trump doesn't help his own cause by defending everything he did as "the right thing to do" and accepting none of the blame for the USFL's swift and epic collapse.

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* Watching ESPN's documentary, ''[[http://30for30.espn.com/film/small-potatoes-who-killed-the-usfl.html Small Potatoes: Who Killed the USFL?]]'' the answer to the titular question would seem to be "DonaldTrump"."Creator/DonaldTrump". While Trump, as owner of the New Jersey Generals, started a bidding war with the NFL over college players (one that most USFL owners didn't have the resources to compete in), the real downfall of the league -- the disastrous decision to move from spring to fall and compete directly with the NFL -- couldn't have been done without a consensus of owners going along with Trump. Much like the Vince Russo entries above, it's unfair to say he single-handedly destroyed the league. Though Trump doesn't help his own cause by defending everything he did as "the right thing to do" and accepting none of the blame for the USFL's swift and epic collapse.
21st Sep '16 6:46:50 PM Miracle@StOlaf
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* Many people believe that the mature content in ''Ren and Stimpy: Adult Party Cartoon'' was the result of John Kricfalusi's ProtectionFromEditors when it was actually [[ExecutiveMeddling forced on him by higher-ups at Spike TV]].

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* Many people believe that the mature content in ''Ren and Stimpy: ''WesternAnimation/RenAndStimpy: Adult Party Cartoon'' was the result of John Kricfalusi's ProtectionFromEditors when ProtectionFromEditors. Given John K's departure from the original series over Nickelodeon's censorship policies, it's an easy assumption to make, but it was actually [[ExecutiveMeddling forced on him by higher-ups at Spike TV]].
21st Sep '16 6:44:06 PM nombretomado
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* Man of Action, the creators of ''WesternAnimation/{{Ben 10}}'' have been blamed for the [[BrokenBase fan-divided]] ''Ben10Omniverse''. However, they left the franchise after ''[[Ben10UltimateAlien Ultimate Alien]]'' to work on ''WesternAnimation/UltimateSpiderMan'', though they still receive a "created by" credit and in actual fact, art director Derrick Wyatt, executive producer Tramm Wigzell, supervising producer Matt Youngberg and now ex-Cartoon Network, Boomerang and Toonami CEO Stuart Snyder are actually responsible for the stylistic change from the DarkerAndEdgier tone of ''[[Ben10AlienForce Alien Force]]/Ultimate Alien'' to the DenserAndWackier tone of ''Omniverse''.

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* Man of Action, the creators of ''WesternAnimation/{{Ben 10}}'' have been blamed for the [[BrokenBase fan-divided]] ''Ben10Omniverse''. ''WesternAnimation/Ben10Omniverse''. However, they left the franchise after ''[[Ben10UltimateAlien ''[[WesternAnimation/Ben10UltimateAlien Ultimate Alien]]'' to work on ''WesternAnimation/UltimateSpiderMan'', though they still receive a "created by" credit and in actual fact, art director Derrick Wyatt, executive producer Tramm Wigzell, supervising producer Matt Youngberg and now ex-Cartoon Network, Boomerang and Toonami CEO Stuart Snyder are actually responsible for the stylistic change from the DarkerAndEdgier tone of ''[[Ben10AlienForce ''[[WesternAnimation/Ben10AlienForce Alien Force]]/Ultimate Alien'' to the DenserAndWackier tone of ''Omniverse''.
20th Sep '16 7:08:37 PM nombretomado
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* In the ''Franchise/StarWarsExpandedUniverse'' Karen Traviss gets a lot of flak, most notoriously for establishing that the Grand Army Of The Republic constituted a mere three million clones. While this number is ridiculously low for a galactic scale conflict (the Eastern Front in WWII alone had somewhere around ''15 million'' troops), what people failed to take into account was that the basis for the clone troop numbers first appeared in the ''AttackOfTheClones'' movie novelization, an upper tier canon work that came out in 2002, which told us that the million more well on the way was a million clone warriors and that it would take time to produce more. Traviss was a lesser tier canon author who didn't come around until ''2004'', meaning that in order for her to be responsible for these numbers, she'd have had to have broken causality. Unfortunately, this created a substantial amount of conflict when other authors missed the higher-canon established figures, and did things like give the Separatists an army in the quintillions. The resulting flame wars were not pretty to say the least.

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* In the ''Franchise/StarWarsExpandedUniverse'' Karen Traviss gets a lot of flak, most notoriously for establishing that the Grand Army Of The Republic constituted a mere three million clones. While this number is ridiculously low for a galactic scale conflict (the Eastern Front in WWII alone had somewhere around ''15 million'' troops), what people failed to take into account was that the basis for the clone troop numbers first appeared in the ''AttackOfTheClones'' ''Film/AttackOfTheClones'' movie novelization, an upper tier canon work that came out in 2002, which told us that the million more well on the way was a million clone warriors and that it would take time to produce more. Traviss was a lesser tier canon author who didn't come around until ''2004'', meaning that in order for her to be responsible for these numbers, she'd have had to have broken causality. Unfortunately, this created a substantial amount of conflict when other authors missed the higher-canon established figures, and did things like give the Separatists an army in the quintillions. The resulting flame wars were not pretty to say the least.
9th Sep '16 8:13:24 PM vtarira
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* Due to the popularity of superhero movies over comic books, it's become fairly common for fans of the movies to fall into Type 1. While the original comics are by no means garbage, they're typically much more sprawling and fantastical than what audiences expect from movies, so a lot of comics staples (even key ones like ComicBookTime and ComicBookDeath) just don't work on film. Accordingly, often when fans don't like something about a comic-book movie, they blame the movie's creative team when the team's only failure was faithfully translating some element that could only work smoothly in print.

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* Due to the popularity of superhero movies over comic books, it's become fairly common for fans of the movies to fall into Type 1. While the 1 (GIGO). The original comics are by no means garbage, they're typically much more sprawling and fantastical than what audiences expect from movies, so but the nature of the medium has created a lot of comics genre staples (even key ones like ComicBookTime (repeated [[SnapBack Snap Backs]] to maintain ComicBookTime, SufficientlyAdvancedTechnology to treat ComicBookDeath, characters [[WolverinePublicity popping in and ComicBookDeath) out]] of each others' titles, etc.) that just don't work on film. Accordingly, often when This means it's not uncommon for fans don't like something about to get upset with a comic-book movie, they blame the superhero movie's creative team over a bad idea of theirs, when in fact it wasn't their idea--it was faithfully imported from the comics and the team's only failure mistake was faithfully translating some element failing to realize that it could only work smoothly in print.
8th Sep '16 5:43:25 PM vtarira
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* Due to the popularity of superhero movies over comic books, it's become fairly common for fans of the movies to fall into Type 1. While the original comics are by no means garbage, they're typically much more sprawling and fantastical than what audiences expect from movies, so a lot of comics staples (even key ones like ComicBookTime and ComicBookDeath) just don't work on film. Accordingly, often when fans don't like something about a comic-book movie, they blame the movie's creative team when the team's only failure was faithfully translating some element that could only work smoothly in print.



* There's a trend among professional film critics to regard the UsefulNotes/NewHollywood era [[NostalgiaFilter as the last true Golden Age of films]]. This was a period where ambitious young film directors, using the new freedom of the R rating, created DarkerAndEdgier films that were critically acclaimed box office hits. Many of these critics (perhaps the most prominent was ''Newsweek'' critic David Ansen) misblame Creator/StevenSpielberg for making ''Film/{{Jaws}}'' and especially Creator/GeorgeLucas for making ''[[Film/ANewHope Star Wars]]'', because this supposedly "ruined" the New Hollywood era, and replaced it with the "inferior" [[UsefulNotes/TheBlockbusterAgeOfHollywood Blockbuster Age of Hollywood]]. But what actually happened is that most of those young film directors gained so much [[AuteurLicense creative clout]] ([[NiceJobBreakingItHero helped along by critics promoting the auteur theory]]) that they lost the ProtectionFromEditors that was an essential reason why their earlier films were so good. So at the same time Spielberg made ''Jaws'' and Lucas made ''Star Wars'', these other young film directors made films that weren't just box office flops, but were even critically panned. So not only do Spielberg and Lucas get misblamed, but the critics who misblame them are targeting two of the only young film directors of the time who managed to avoid the PFE pitfalls at the time and make films that weren't just box office hits, but were also critically acclaimed.

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* There's a trend among professional film critics to regard the UsefulNotes/NewHollywood era [[NostalgiaFilter as the last true Golden Age of films]]. This was a period where ambitious young film directors, using the new freedom of the R rating, created DarkerAndEdgier films that were critically acclaimed box office hits. Many of these critics (perhaps the most prominent was ''Newsweek'' critic David Ansen) misblame Creator/StevenSpielberg for making ''Film/{{Jaws}}'' and especially Creator/GeorgeLucas for making ''[[Film/ANewHope Star Wars]]'', because this supposedly "ruined" the New Hollywood era, and replaced it with the "inferior" [[UsefulNotes/TheBlockbusterAgeOfHollywood Blockbuster Age of Hollywood]]. But what actually happened is that most of those young film directors gained so much [[AuteurLicense creative clout]] ([[NiceJobBreakingItHero helped along by critics promoting the auteur theory]]) that they lost [[ProtectionFromEditors no longer had to listen to the ProtectionFromEditors that was editors]] who, it soon became clear, were an essential reason why their earlier films were so good. So at the same time Spielberg made ''Jaws'' and Lucas made ''Star Wars'', these other young film directors made films that weren't just box office flops, but were even critically panned. So not only do Spielberg and Lucas get misblamed, but the critics who misblame them are targeting two of the only young film directors of the time who managed to avoid the PFE pitfalls at the time and make films that weren't just box office hits, but were also critically acclaimed.
5th Sep '16 11:16:48 PM Killerikala
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Added DiffLines:

** Some watchers claim that the reboot unnecessarily changed the web-shooters to mechanical ones instead of using the "comic-accurate" organic ones. However, comic-Spideys' web-shooters became organic only to match the changes made for the Raimi films; He had used mechanical ones for several decades by then.
28th Aug '16 12:07:35 PM nombretomado
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* Arguably ''Series/LizzieMcGuire'' qualifies as an inversion of type 1 (not that the show had no flaws, just that it's the successors that had the flaws generally associated with the work) mixed with type 2. It is usually blamed by people (especially on the Internet) for DisneyChannel's current batch of low budget StrictlyFormula shows with over the top humor, wacky plots, weird premises, and laugh tracks, despite the fact that it really had none of those (Lizzie was supposed to be a normal girl, albeit one with a cartoon avatar, there wasn't a laugh track, and the show didn't look particularly cheap) and wasn't even made by the same production company. This may be because the success of the show that really promoted Disney Channel to the forefront in the young female demographic.

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* Arguably ''Series/LizzieMcGuire'' qualifies as an inversion of type 1 (not that the show had no flaws, just that it's the successors that had the flaws generally associated with the work) mixed with type 2. It is usually blamed by people (especially on the Internet) for DisneyChannel's Creator/DisneyChannel's current batch of low budget StrictlyFormula shows with over the top humor, wacky plots, weird premises, and laugh tracks, despite the fact that it really had none of those (Lizzie was supposed to be a normal girl, albeit one with a cartoon avatar, there wasn't a laugh track, and the show didn't look particularly cheap) and wasn't even made by the same production company. This may be because the success of the show that really promoted Disney Channel to the forefront in the young female demographic.
22nd Aug '16 4:35:53 PM Joe32
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** The real season is that Sonyís [[ExecutiveMeddling executives disagreed about the budget]] and caused the would be director Jan De Bont to drop out. There were several attempts to re-negotiate, and get a director, Tri-Star brought in Roland Emmerich (the fi first director to turn down directing Godzilla 1994 because he explicitly stated that he didn't like Godzilla.) and Dean Devlin. The condition they agreed to direct was that they would rewrite the entire thing however they wanted, and we [[InNameOnly all know how that went.]] The even sadder irony is that the budget went way over the budget Sony didnít agree on, meaning that the whole screw up was really meaningless.

to:

** *** The real season is that Sonyís [[ExecutiveMeddling executives disagreed about the budget]] and caused the would be director Jan De Bont to drop out. There were several attempts to re-negotiate, and get a director, Tri-Star brought in Roland Emmerich (the fi first director to turn down directing Godzilla 1994 because he explicitly stated that he didn't like Godzilla.) and Dean Devlin. The condition they agreed to direct was that they would rewrite the entire thing however they wanted, and we [[InNameOnly all know how that went.]] The even sadder irony is that the budget went way over the budget Sony didnít agree on, meaning that the whole screw up was really meaningless.
22nd Aug '16 4:35:10 PM Joe32
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Added DiffLines:

** Before the ''Film/{{Godzilla 1998}}'' film, a [[Film/{{Godzilla 1994}} 1994 Godzilla film]] was planned:The film was originally going to have Godzilla fight against a giant monster named the Gryphon and have special effects done by none other than Creator/StanWinston Studios. A misconception that has been circulating was that the reason the Gryphon never manifested was because Toho veto'd the idea, and proposed Mothra and King Ghidorah instead. Both were turned down because they were extremely expensive. The real reason was actually worse.
** The real season is that Sonyís [[ExecutiveMeddling executives disagreed about the budget]] and caused the would be director Jan De Bont to drop out. There were several attempts to re-negotiate, and get a director, Tri-Star brought in Roland Emmerich (the fi first director to turn down directing Godzilla 1994 because he explicitly stated that he didn't like Godzilla.) and Dean Devlin. The condition they agreed to direct was that they would rewrite the entire thing however they wanted, and we [[InNameOnly all know how that went.]] The even sadder irony is that the budget went way over the budget Sony didnít agree on, meaning that the whole screw up was really meaningless.
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