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Changed line(s) 149 (click to see context) from:
* The second season of the Netflix documentary series ''African Queens'', focusing on UsefulNotes/CleopatraVII quickly became one of the worst reviewed things on the platform ever (with a whopping 1% audience rating on Rotten Tomatoes, and only 15% from critics). Firstly, Cleopatra is considered an overexposed figure, alienating enthusiasts who felt the series couldn't offer anything not explored already. Most controversially, the decision to depict Cleopatra as a Black woman, citing the unsubstantiated theory by Hilke Thür that she might have had African heritage. This was done, per WordOfGod, to provide African-Americans with positive representation, but the majority of Black viewers found the RaceLift insulting, citing numerous unambiguously Black figures who could have been spotlighted instead (especially given Cleopatra's overexposure in media). The series being presented as a docudrama rather than HistoricalFiction, and numerous other historical inaccuracies turned off history buffs who might have been more receptive to it, especially Egyptian audiences, some of which cited feeling like the show was trying to take their history and culture away from them. One review even described it as "too soapy for serious history fans, but not enough of a soap for viewers who like juicy historical dramas".
to:
* The second season of the Netflix documentary series ''African Queens'', focusing on UsefulNotes/CleopatraVII quickly became one of the worst reviewed things on the platform ever (with a whopping 1% audience rating on Rotten Tomatoes, and only 15% from critics). Firstly, Cleopatra is considered an overexposed figure, alienating enthusiasts who felt the series couldn't offer anything not explored already. Most controversially, the decision to depict Cleopatra as a Black woman, citing the unsubstantiated theory by Hilke Thür that she might have had African heritage. This was done, per WordOfGod, to provide African-Americans with positive representation, but the majority of Black viewers found the RaceLift insulting, citing numerous unambiguously Black figures who could have been spotlighted instead (especially given Cleopatra's overexposure in media). The series being presented as a docudrama rather than HistoricalFiction, and numerous other historical inaccuracies turned off history buffs who might have been more receptive to it, especially turned off Egyptian audiences, some of which cited feeling like the show audiences because they felt it was trying to take taking their history and culture away from them.them, and turned off everyone else because it was presented as the kind of dry and boring documentary you'd likely see in school. One review even described it as "too soapy for serious history fans, but not enough of a soap for viewers who like juicy historical dramas".
Is there an issue? Send a MessageReason:
Multiple Media does not get a separate folder according to Media Categories and Media Categories FAQ. All examples were moved to the correct folders.
* ''Franchise/{{Transformers}}'':
** This was a major reason that ''ComicBook/TransformersGeneration2'' ultimately bombed. It showed up at a point where fans of the original ''Transformers'' at its height were likely in high school, meaning it came too early to catch the wave of nostalgic adults, but also only a few years after the tail-end of its predecessor, meaning that for kids, it still bore the stigma of the lackluster later lines. Many figures in the line were rereleases of the originals but with new color schemes and weapons, which wasn't great when it showed up at a point where many kids could simply ask their older siblings for those originals. They were also very brightly-colored and gimmicky, which suggested an attempt to appeal to younger kids--yet the comics designed to promote the series, which made up its only real new promotional material, were [[DarkerAndEdgier some of the darkest material in the franchise up to that point]].
** IDW's first attempt at ''WesternAnimation/BeastWars'' comics get a fair bit of this, due to being primarily focused on characters from the toyline, ''Anime/BeastWarsII'', and ''Anime/BeastWarsNeo''. Fans of the cartoon are put off because the main appeal to ''Beast Wars'' was its strong character work with a limited cast, while the comics have tons of characters that mostly exclude the cartoon's cast outside of cameos. Meanwhile, fans of the anime are put off by the massive amount of AdaptationPersonalityChange and [[DarkerAndEdgier significant tonal differences]], making it feel like the creators were crowbarring its concepts into the American continuity regardless of whether it made sense. This was especially evident with the ''[[AllThereInTheManual Beast Wars Sourcebook]]'', which devoted massive chunks of pagetime to obscure characters from Japanese fiction but also rewrote half their personalities to InNameOnly levels. It seems like the only people it was made for were fans of {{Toyline Exclusive Character}}s like Razorbeast and Torca, who previously didn't have any meaningful followings or characterization. Their second attempt years later is a separate continuity more in line with the original cartoon, after seemingly learning their lesson from this.
** This was a major reason that ''ComicBook/TransformersGeneration2'' ultimately bombed. It showed up at a point where fans of the original ''Transformers'' at its height were likely in high school, meaning it came too early to catch the wave of nostalgic adults, but also only a few years after the tail-end of its predecessor, meaning that for kids, it still bore the stigma of the lackluster later lines. Many figures in the line were rereleases of the originals but with new color schemes and weapons, which wasn't great when it showed up at a point where many kids could simply ask their older siblings for those originals. They were also very brightly-colored and gimmicky, which suggested an attempt to appeal to younger kids--yet the comics designed to promote the series, which made up its only real new promotional material, were [[DarkerAndEdgier some of the darkest material in the franchise up to that point]].
** IDW's first attempt at ''WesternAnimation/BeastWars'' comics get a fair bit of this, due to being primarily focused on characters from the toyline, ''Anime/BeastWarsII'', and ''Anime/BeastWarsNeo''. Fans of the cartoon are put off because the main appeal to ''Beast Wars'' was its strong character work with a limited cast, while the comics have tons of characters that mostly exclude the cartoon's cast outside of cameos. Meanwhile, fans of the anime are put off by the massive amount of AdaptationPersonalityChange and [[DarkerAndEdgier significant tonal differences]], making it feel like the creators were crowbarring its concepts into the American continuity regardless of whether it made sense. This was especially evident with the ''[[AllThereInTheManual Beast Wars Sourcebook]]'', which devoted massive chunks of pagetime to obscure characters from Japanese fiction but also rewrote half their personalities to InNameOnly levels. It seems like the only people it was made for were fans of {{Toyline Exclusive Character}}s like Razorbeast and Torca, who previously didn't have any meaningful followings or characterization. Their second attempt years later is a separate continuity more in line with the original cartoon, after seemingly learning their lesson from this.
Deleted line(s) 188,200 (click to see context) :
[[folder:Multiple Media]]
* ''Toys/{{Bionicle 2015}}'', or "''BIONICLE'' Generation 2" was a failed ContinuityReboot of Generation 1 ''Toys/{{Bionicle}}''. G1 [[MultipleDemographicAppeal was made to have a wide appeal]], aimed more toward teens. It had a fairly serious and occasionally gritty tone with massive ContinuityPorn, and a fanbase of kids and young adults. ''G2'' was partially marketed at older fans, with a booth at New York Comic Con, social media outreach and official contests held on long-standing international fansites. The toys were also more complex than most similar figures from the early 2010s, like ''Toys/HeroFactory''. The media content was however [[LighterAndSofter child oriented and a lot more toned down]] than the original, at times veering into comedy or preschooler-level [[AnAesop messaging]]. Attempts were made to hint at a larger lore, but not explored, many characters had no names, personalities or even genders as Toys/{{LEGO}} thought these would confuse kids, but the lack of cohesion ended up confusing old fans who were used to G1's extensive worldbuilding. Even freelance writer Ryder Windham, who suggested naming the side characters, admitted the story outlines he had to adapt into books and comics were contradictory and thoughtless. G2 was also mistimed, as many older fans were still in high school or collage and couldn't afford the toys. So in the end, kids showed no interest in the toys and nostalgia-nods aimed at older fans and gravitated toward the much more successful series ''WesternAnimation/{{Ninjago}}'' instead, while old fans were left disappointed by the juvenile media and lack of an interesting story. Despite an initial promise of a guaranteed 3 year test period, LEGO gave up on ''BIONICLE'' G2 almost the moment it had launched, ending it within a year and a half.
* ''Franchise/{{Transformers}}'':
** This was one of the main things that made the Pretender toyline from Generation 1 a notorious flop. The intention was to appeal to fans of more traditional action figures (''Franchise/TeenageMutantNinjaTurtles'' was at its height then) by creating "Pretender shells", large hollow figures of humans or monsters that could split in two to reveal a Transformer inside. In practice, the shells made for pretty shoddy action figures, being simplistic and hollow and possessing no points of movement besides raising the shoulders, while the Transformer inside ended up being small and heavily compromised to fit inside the shell (most of the early ones barely even have altmodes). Additionally, they were hitting different age groups; the shells, with their bright colors and chunky designs, suggested they were aimed at the "just out of Playskool" demographic, but ''Transformers'', with its small parts and puzzle-based gimmick, tended to be aimed a few years older than that.
*** Hasbro would not give up on the idea of a toyline designed to appeal to traditional action figure fans so soon, with next year's line introducing Action Masters, promoted as figures of Cybertronians who gave up their ability to transform to gain power, including many classic characters, making them just traditional action figures of robots. The transforming feature wasn't fully dropped, as each figure came with a weapon or vehicle accessory that could transform, but the fact that the main figures couldn't do such when the franchise is called '''''Transformers''''' was mocked by the action figure collectors and alienated older fans, being the final nail in the coffin as the the original toyline ended that year in America, and not even Takara imported the line for the Japanese audience like they at least tried with Pretenders. They fared better in Europe, where they lasted another year, amusingly with the last ones including Action Masters that ''could'' transform. Nowadays non-transforming figures are still made, but they're placed in sub-lines or sold as display collector items rather than being the main toyline of the year like Action Masters were.
** This was a major reason that ''ComicBook/TransformersGeneration2'' ultimately bombed. It showed up at a point where fans of the original ''Transformers'' at its height were likely in high school, meaning it came too early to catch the wave of nostalgic adults, but also only a few years after the tail-end of its predecessor, meaning that for kids, it still bore the stigma of the lackluster later lines. Many figures in the line were rereleases of the originals but with new color schemes and weapons, which wasn't great when it showed up at a point where many kids could simply ask their older siblings for those originals. They were also very brightly-colored and gimmicky, which suggested an attempt to appeal to younger kids--yet the comics designed to promote the series, which made up its only real new promotional material, were [[DarkerAndEdgier some of the darkest material in the franchise up to that point]].
** IDW's first attempt at ''WesternAnimation/BeastWars'' comics get a fair bit of this, due to being primarily focused on characters from the toyline, ''Anime/BeastWarsII'', and ''Anime/BeastWarsNeo''. Fans of the cartoon are put off because the main appeal to ''Beast Wars'' was its strong character work with a limited cast, while the comics have tons of characters that mostly exclude the cartoon's cast outside of cameos. Meanwhile, fans of the anime are put off by the massive amount of AdaptationPersonalityChange and [[DarkerAndEdgier significant tonal differences]], making it feel like the creators were crowbarring its concepts into the American continuity regardless of whether it made sense. This was especially evident with the ''[[AllThereInTheManual Beast Wars Sourcebook]]'', which devoted massive chunks of pagetime to obscure characters from Japanese fiction but also rewrote half their personalities to InNameOnly levels. It seems like the only people it was made for were fans of {{Toyline Exclusive Character}}s like Razorbeast and Torca, who previously didn't have any meaningful followings or characterization. Their second attempt years later is a separate continuity more in line with the original cartoon, after seemingly learning their lesson from this.
** This is a major reason why the Franchise/TransformersAlignedUniverse was perceived as a failure by its designers, despite many of its individual components being successful. The main branches of it that actually came out and gained solid fanbases ended up being ''VideoGame/TransformersWarForCybertron'' and [[VideoGame/TransformersFallOfCybertron its sequel]] (aimed at older fans who grew up with ''Franchise/TransformersGeneration1''), ''WesternAnimation/TransformersPrime'' (aimed at older kids and teens introduced through the movies and the prior ''WesternAnimation/TransformersAnimated'', with some nods to older audiences), and ''WesternAnimation/TransformersRescueBots'' and its direct [[WesternAnimation/TransformersRescueBotsAcademy follow-up]] (aimed at very young children with a ParentalBonus or two). While they all succeeded to varying degrees at appealing to those audiences, any attempt to play with a SharedUniverse didn't work out, as fans would invariably be confused and put off by the fact that, {{Continuity Nod}}s aside, they were watching or playing something unlike whatever they were initially interested in. While the Optimus of all three is broadly recognizable as different takes on Optimus as an archetype, it's very difficult to see them as the same person. Efforts to properly combine the various branches, such as ''Literature/TransformersExodus'', were consistently unsuccessful and often saw {{Continuity Snarl}}s or BroadStrokes as a result. This [[https://www.deviantart.com/the-edude/art/The-Aligned-Continuity-696815706 comic]] sums up how much each entry in the Aligned Continuity can clash with each other in terms of tone, mood and style.
*** Even within the continuity family, ''WesternAnimation/TransformersRobotsInDisguise2015'' stands out for being very confused about its audience. It's a direct sequel to ''Prime'', but carries over very few of its characters in non-cameo roles and features a very different aesthetic and tone (being sort of in the middle between ''Prime'' and ''Rescue Bots''). To fans of ''Prime'', it comes across as a DenserAndWackier followup that [[ToughActToFollow fails to match up]] in any way, while newcomers are put off by the fact that it ''is'' a followup, and spends much of its time trying to build on plot points and ideas introduced in its predecessor, such as Optimus's death, the Thirteen, and Bumblebee becoming a leader. Even among Aligned completionists, it stands out for more or less ignoring the ''Cybertron'' games.
*** While Hasbro at least tried in most of the globe, the franchise's other owner Takara-Tomy had no regard for this when bringing Aligned media to Japanese markets. For starters, in an effort to appeal to the Japanese-market more numerous model kit crowd, all ''Prime'' toys were re-done as model kits that replaced most paint applications with stickers, which alienated older kids and collectors the toys originally aimed for. The ''Prime'' cartoon itself was subject to a GagDub aimed at pre-schoolers similar to ''Beast Wars'' beforehand, but its grittier tone and atmosphere didn't mesh well with the character quirks and intended audience. The result was that ''Prime'' bombed terribly in Japan, having the lowest viewership during its timeslot and the toys selling very low, along other budget mismanagaments. In an effort to recoup loses, the dub decided to rework the season 2 finale into the series finale, ending on a cliffhanger, and then making an original sequel straight-to-video anime series named ''Anime/TransformersGo''; this not only splits the Aligned Continuity into more branches, but its heavy aesthetic based on Japanese elements like ninja, samurai and yokai don't mesh well with the aesthetic or tone of ''Prime'', even with its gag dub, turning off even the fans ''Prime'' had over there. Furthermore the existence of ''Go!'' also hurts ''Robots in Disguise (2015)'' in this regard further, as when Takara imported it there were no changes to the story, which included references to the third season of ''Prime'', which would further confuse its intended audience and casual older fans unaware of ''Prime'''s original dub.
** The ''Power Core Combiners'' line was a notorious underperformer, with many of its figures ending up on steep clearance, and largely for this reason. It was released as a companion to the ''Generations'' line, with a similar tech-y realistic aesthetic and filling out price points ''Generations'' didn't at the time, which suggested it to be aimed at older collectors. However, the line also relied heavily on gimmicks, being based around CombiningMecha where the limbs transform automatically upon being inserted into huge bright blue pegs on the main body (and in a fashion that renders the arms almost entirely unposeable), something that seemingly implies they're aimed at younger kids. The line also received very little in the way of tie-in media, to the point that it's difficult to parse which continuity it even occupies, and featured few to no existing characters in favor of relying on {{Continuity Nod}}s. In all, it ended up being too gimmicky for collectors, lacked the star power for general fans, and wasn't particularly appealing to kids.
[[/folder]]
* ''Toys/{{Bionicle 2015}}'', or "''BIONICLE'' Generation 2" was a failed ContinuityReboot of Generation 1 ''Toys/{{Bionicle}}''. G1 [[MultipleDemographicAppeal was made to have a wide appeal]], aimed more toward teens. It had a fairly serious and occasionally gritty tone with massive ContinuityPorn, and a fanbase of kids and young adults. ''G2'' was partially marketed at older fans, with a booth at New York Comic Con, social media outreach and official contests held on long-standing international fansites. The toys were also more complex than most similar figures from the early 2010s, like ''Toys/HeroFactory''. The media content was however [[LighterAndSofter child oriented and a lot more toned down]] than the original, at times veering into comedy or preschooler-level [[AnAesop messaging]]. Attempts were made to hint at a larger lore, but not explored, many characters had no names, personalities or even genders as Toys/{{LEGO}} thought these would confuse kids, but the lack of cohesion ended up confusing old fans who were used to G1's extensive worldbuilding. Even freelance writer Ryder Windham, who suggested naming the side characters, admitted the story outlines he had to adapt into books and comics were contradictory and thoughtless. G2 was also mistimed, as many older fans were still in high school or collage and couldn't afford the toys. So in the end, kids showed no interest in the toys and nostalgia-nods aimed at older fans and gravitated toward the much more successful series ''WesternAnimation/{{Ninjago}}'' instead, while old fans were left disappointed by the juvenile media and lack of an interesting story. Despite an initial promise of a guaranteed 3 year test period, LEGO gave up on ''BIONICLE'' G2 almost the moment it had launched, ending it within a year and a half.
* ''Franchise/{{Transformers}}'':
** This was one of the main things that made the Pretender toyline from Generation 1 a notorious flop. The intention was to appeal to fans of more traditional action figures (''Franchise/TeenageMutantNinjaTurtles'' was at its height then) by creating "Pretender shells", large hollow figures of humans or monsters that could split in two to reveal a Transformer inside. In practice, the shells made for pretty shoddy action figures, being simplistic and hollow and possessing no points of movement besides raising the shoulders, while the Transformer inside ended up being small and heavily compromised to fit inside the shell (most of the early ones barely even have altmodes). Additionally, they were hitting different age groups; the shells, with their bright colors and chunky designs, suggested they were aimed at the "just out of Playskool" demographic, but ''Transformers'', with its small parts and puzzle-based gimmick, tended to be aimed a few years older than that.
*** Hasbro would not give up on the idea of a toyline designed to appeal to traditional action figure fans so soon, with next year's line introducing Action Masters, promoted as figures of Cybertronians who gave up their ability to transform to gain power, including many classic characters, making them just traditional action figures of robots. The transforming feature wasn't fully dropped, as each figure came with a weapon or vehicle accessory that could transform, but the fact that the main figures couldn't do such when the franchise is called '''''Transformers''''' was mocked by the action figure collectors and alienated older fans, being the final nail in the coffin as the the original toyline ended that year in America, and not even Takara imported the line for the Japanese audience like they at least tried with Pretenders. They fared better in Europe, where they lasted another year, amusingly with the last ones including Action Masters that ''could'' transform. Nowadays non-transforming figures are still made, but they're placed in sub-lines or sold as display collector items rather than being the main toyline of the year like Action Masters were.
** This was a major reason that ''ComicBook/TransformersGeneration2'' ultimately bombed. It showed up at a point where fans of the original ''Transformers'' at its height were likely in high school, meaning it came too early to catch the wave of nostalgic adults, but also only a few years after the tail-end of its predecessor, meaning that for kids, it still bore the stigma of the lackluster later lines. Many figures in the line were rereleases of the originals but with new color schemes and weapons, which wasn't great when it showed up at a point where many kids could simply ask their older siblings for those originals. They were also very brightly-colored and gimmicky, which suggested an attempt to appeal to younger kids--yet the comics designed to promote the series, which made up its only real new promotional material, were [[DarkerAndEdgier some of the darkest material in the franchise up to that point]].
** IDW's first attempt at ''WesternAnimation/BeastWars'' comics get a fair bit of this, due to being primarily focused on characters from the toyline, ''Anime/BeastWarsII'', and ''Anime/BeastWarsNeo''. Fans of the cartoon are put off because the main appeal to ''Beast Wars'' was its strong character work with a limited cast, while the comics have tons of characters that mostly exclude the cartoon's cast outside of cameos. Meanwhile, fans of the anime are put off by the massive amount of AdaptationPersonalityChange and [[DarkerAndEdgier significant tonal differences]], making it feel like the creators were crowbarring its concepts into the American continuity regardless of whether it made sense. This was especially evident with the ''[[AllThereInTheManual Beast Wars Sourcebook]]'', which devoted massive chunks of pagetime to obscure characters from Japanese fiction but also rewrote half their personalities to InNameOnly levels. It seems like the only people it was made for were fans of {{Toyline Exclusive Character}}s like Razorbeast and Torca, who previously didn't have any meaningful followings or characterization. Their second attempt years later is a separate continuity more in line with the original cartoon, after seemingly learning their lesson from this.
** This is a major reason why the Franchise/TransformersAlignedUniverse was perceived as a failure by its designers, despite many of its individual components being successful. The main branches of it that actually came out and gained solid fanbases ended up being ''VideoGame/TransformersWarForCybertron'' and [[VideoGame/TransformersFallOfCybertron its sequel]] (aimed at older fans who grew up with ''Franchise/TransformersGeneration1''), ''WesternAnimation/TransformersPrime'' (aimed at older kids and teens introduced through the movies and the prior ''WesternAnimation/TransformersAnimated'', with some nods to older audiences), and ''WesternAnimation/TransformersRescueBots'' and its direct [[WesternAnimation/TransformersRescueBotsAcademy follow-up]] (aimed at very young children with a ParentalBonus or two). While they all succeeded to varying degrees at appealing to those audiences, any attempt to play with a SharedUniverse didn't work out, as fans would invariably be confused and put off by the fact that, {{Continuity Nod}}s aside, they were watching or playing something unlike whatever they were initially interested in. While the Optimus of all three is broadly recognizable as different takes on Optimus as an archetype, it's very difficult to see them as the same person. Efforts to properly combine the various branches, such as ''Literature/TransformersExodus'', were consistently unsuccessful and often saw {{Continuity Snarl}}s or BroadStrokes as a result. This [[https://www.deviantart.com/the-edude/art/The-Aligned-Continuity-696815706 comic]] sums up how much each entry in the Aligned Continuity can clash with each other in terms of tone, mood and style.
*** Even within the continuity family, ''WesternAnimation/TransformersRobotsInDisguise2015'' stands out for being very confused about its audience. It's a direct sequel to ''Prime'', but carries over very few of its characters in non-cameo roles and features a very different aesthetic and tone (being sort of in the middle between ''Prime'' and ''Rescue Bots''). To fans of ''Prime'', it comes across as a DenserAndWackier followup that [[ToughActToFollow fails to match up]] in any way, while newcomers are put off by the fact that it ''is'' a followup, and spends much of its time trying to build on plot points and ideas introduced in its predecessor, such as Optimus's death, the Thirteen, and Bumblebee becoming a leader. Even among Aligned completionists, it stands out for more or less ignoring the ''Cybertron'' games.
*** While Hasbro at least tried in most of the globe, the franchise's other owner Takara-Tomy had no regard for this when bringing Aligned media to Japanese markets. For starters, in an effort to appeal to the Japanese-market more numerous model kit crowd, all ''Prime'' toys were re-done as model kits that replaced most paint applications with stickers, which alienated older kids and collectors the toys originally aimed for. The ''Prime'' cartoon itself was subject to a GagDub aimed at pre-schoolers similar to ''Beast Wars'' beforehand, but its grittier tone and atmosphere didn't mesh well with the character quirks and intended audience. The result was that ''Prime'' bombed terribly in Japan, having the lowest viewership during its timeslot and the toys selling very low, along other budget mismanagaments. In an effort to recoup loses, the dub decided to rework the season 2 finale into the series finale, ending on a cliffhanger, and then making an original sequel straight-to-video anime series named ''Anime/TransformersGo''; this not only splits the Aligned Continuity into more branches, but its heavy aesthetic based on Japanese elements like ninja, samurai and yokai don't mesh well with the aesthetic or tone of ''Prime'', even with its gag dub, turning off even the fans ''Prime'' had over there. Furthermore the existence of ''Go!'' also hurts ''Robots in Disguise (2015)'' in this regard further, as when Takara imported it there were no changes to the story, which included references to the third season of ''Prime'', which would further confuse its intended audience and casual older fans unaware of ''Prime'''s original dub.
** The ''Power Core Combiners'' line was a notorious underperformer, with many of its figures ending up on steep clearance, and largely for this reason. It was released as a companion to the ''Generations'' line, with a similar tech-y realistic aesthetic and filling out price points ''Generations'' didn't at the time, which suggested it to be aimed at older collectors. However, the line also relied heavily on gimmicks, being based around CombiningMecha where the limbs transform automatically upon being inserted into huge bright blue pegs on the main body (and in a fashion that renders the arms almost entirely unposeable), something that seemingly implies they're aimed at younger kids. The line also received very little in the way of tie-in media, to the point that it's difficult to parse which continuity it even occupies, and featured few to no existing characters in favor of relying on {{Continuity Nod}}s. In all, it ended up being too gimmicky for collectors, lacked the star power for general fans, and wasn't particularly appealing to kids.
[[/folder]]
Added DiffLines:
* ''Toys/{{Bionicle 2015}}'', or "''BIONICLE'' Generation 2" was a failed ContinuityReboot of Generation 1 ''Toys/{{Bionicle}}''. G1 [[MultipleDemographicAppeal was made to have a wide appeal]], aimed more toward teens. It had a fairly serious and occasionally gritty tone with massive ContinuityPorn, and a fanbase of kids and young adults. ''G2'' was partially marketed at older fans, with a booth at New York Comic Con, social media outreach and official contests held on long-standing international fansites. The toys were also more complex than most similar figures from the early 2010s, like ''Toys/HeroFactory''. The media content was however [[LighterAndSofter child oriented and a lot more toned down]] than the original, at times veering into comedy or preschooler-level [[AnAesop messaging]]. Attempts were made to hint at a larger lore, but not explored, many characters had no names, personalities or even genders as Toys/{{LEGO}} thought these would confuse kids, but the lack of cohesion ended up confusing old fans who were used to G1's extensive worldbuilding. Even freelance writer Ryder Windham, who suggested naming the side characters, admitted the story outlines he had to adapt into books and comics were contradictory and thoughtless. G2 was also mistimed, as many older fans were still in high school or collage and couldn't afford the toys. So in the end, kids showed no interest in the toys and nostalgia-nods aimed at older fans and gravitated toward the much more successful series ''WesternAnimation/{{Ninjago}}'' instead, while old fans were left disappointed by the juvenile media and lack of an interesting story. Despite an initial promise of a guaranteed 3 year test period, LEGO gave up on ''BIONICLE'' G2 almost the moment it had launched, ending it within a year and a half.
Added DiffLines:
* ''Franchise/{{Transformers}}'':
** This was one of the main things that made the Pretender toyline from Generation 1 a notorious flop. The intention was to appeal to fans of more traditional action figures (''Franchise/TeenageMutantNinjaTurtles'' was at its height then) by creating "Pretender shells", large hollow figures of humans or monsters that could split in two to reveal a Transformer inside. In practice, the shells made for pretty shoddy action figures, being simplistic and hollow and possessing no points of movement besides raising the shoulders, while the Transformer inside ended up being small and heavily compromised to fit inside the shell (most of the early ones barely even have altmodes). Additionally, they were hitting different age groups; the shells, with their bright colors and chunky designs, suggested they were aimed at the "just out of Playskool" demographic, but ''Transformers'', with its small parts and puzzle-based gimmick, tended to be aimed a few years older than that.
** Hasbro would not give up on the idea of a toyline designed to appeal to traditional action figure fans so soon, with next year's line introducing Action Masters, promoted as figures of Cybertronians who gave up their ability to transform to gain power, including many classic characters, making them just traditional action figures of robots. The transforming feature wasn't fully dropped, as each figure came with a weapon or vehicle accessory that could transform, but the fact that the main figures couldn't do such when the franchise is called '''''Transformers''''' was mocked by the action figure collectors and alienated older fans, being the final nail in the coffin as the the original toyline ended that year in America, and not even Takara imported the line for the Japanese audience like they at least tried with Pretenders. They fared better in Europe, where they lasted another year, amusingly with the last ones including Action Masters that ''could'' transform. Nowadays non-transforming figures are still made, but they're placed in sub-lines or sold as display collector items rather than being the main toyline of the year like Action Masters were.
** This is a major reason why the Franchise/TransformersAlignedUniverse was perceived as a failure by its designers, despite many of its individual components being successful. The main branches of it that actually came out and gained solid fanbases ended up being ''VideoGame/TransformersWarForCybertron'' and [[VideoGame/TransformersFallOfCybertron its sequel]] (aimed at older fans who grew up with ''Franchise/TransformersGeneration1''), ''WesternAnimation/TransformersPrime'' (aimed at older kids and teens introduced through the movies and the prior ''WesternAnimation/TransformersAnimated'', with some nods to older audiences), and ''WesternAnimation/TransformersRescueBots'' and its direct [[WesternAnimation/TransformersRescueBotsAcademy follow-up]] (aimed at very young children with a ParentalBonus or two). While they all succeeded to varying degrees at appealing to those audiences, any attempt to play with a SharedUniverse didn't work out, as fans would invariably be confused and put off by the fact that, {{Continuity Nod}}s aside, they were watching or playing something unlike whatever they were initially interested in. While the Optimus of all three is broadly recognizable as different takes on Optimus as an archetype, it's very difficult to see them as the same person. Efforts to properly combine the various branches, such as ''Literature/TransformersExodus'', were consistently unsuccessful and often saw {{Continuity Snarl}}s or BroadStrokes as a result. This [[https://www.deviantart.com/the-edude/art/The-Aligned-Continuity-696815706 comic]] sums up how much each entry in the Aligned Continuity can clash with each other in terms of tone, mood and style.
*** Even within the continuity family, ''WesternAnimation/TransformersRobotsInDisguise2015'' stands out for being very confused about its audience. It's a direct sequel to ''Prime'', but carries over very few of its characters in non-cameo roles and features a very different aesthetic and tone (being sort of in the middle between ''Prime'' and ''Rescue Bots''). To fans of ''Prime'', it comes across as a DenserAndWackier followup that [[ToughActToFollow fails to match up]] in any way, while newcomers are put off by the fact that it ''is'' a followup, and spends much of its time trying to build on plot points and ideas introduced in its predecessor, such as Optimus's death, the Thirteen, and Bumblebee becoming a leader. Even among Aligned completionists, it stands out for more or less ignoring the ''Cybertron'' games.
*** While Hasbro at least tried in most of the globe, the franchise's other owner Takara-Tomy had no regard for this when bringing Aligned media to Japanese markets. For starters, in an effort to appeal to the Japanese-market more numerous model kit crowd, all ''Prime'' toys were re-done as model kits that replaced most paint applications with stickers, which alienated older kids and collectors the toys originally aimed for. The ''Prime'' cartoon itself was subject to a GagDub aimed at pre-schoolers similar to ''Beast Wars'' beforehand, but its grittier tone and atmosphere didn't mesh well with the character quirks and intended audience. The result was that ''Prime'' bombed terribly in Japan, having the lowest viewership during its timeslot and the toys selling very low, along other budget mismanagaments. In an effort to recoup loses, the dub decided to rework the season 2 finale into the series finale, ending on a cliffhanger, and then making an original sequel straight-to-video anime series named ''Anime/TransformersGo''; this not only splits the Aligned Continuity into more branches, but its heavy aesthetic based on Japanese elements like ninja, samurai and yokai don't mesh well with the aesthetic or tone of ''Prime'', even with its gag dub, turning off even the fans ''Prime'' had over there. Furthermore the existence of ''Go!'' also hurts ''Robots in Disguise (2015)'' in this regard further, as when Takara imported it there were no changes to the story, which included references to the third season of ''Prime'', which would further confuse its intended audience and casual older fans unaware of ''Prime'''s original dub.
** The ''Power Core Combiners'' line was a notorious underperformer, with many of its figures ending up on steep clearance, and largely for this reason. It was released as a companion to the ''Generations'' line, with a similar tech-y realistic aesthetic and filling out price points ''Generations'' didn't at the time, which suggested it to be aimed at older collectors. However, the line also relied heavily on gimmicks, being based around CombiningMecha where the limbs transform automatically upon being inserted into huge bright blue pegs on the main body (and in a fashion that renders the arms almost entirely unposeable), something that seemingly implies they're aimed at younger kids. The line also received very little in the way of tie-in media, to the point that it's difficult to parse which continuity it even occupies, and featured few to no existing characters in favor of relying on {{Continuity Nod}}s. In all, it ended up being too gimmicky for collectors, lacked the star power for general fans, and wasn't particularly appealing to kids.
** This was one of the main things that made the Pretender toyline from Generation 1 a notorious flop. The intention was to appeal to fans of more traditional action figures (''Franchise/TeenageMutantNinjaTurtles'' was at its height then) by creating "Pretender shells", large hollow figures of humans or monsters that could split in two to reveal a Transformer inside. In practice, the shells made for pretty shoddy action figures, being simplistic and hollow and possessing no points of movement besides raising the shoulders, while the Transformer inside ended up being small and heavily compromised to fit inside the shell (most of the early ones barely even have altmodes). Additionally, they were hitting different age groups; the shells, with their bright colors and chunky designs, suggested they were aimed at the "just out of Playskool" demographic, but ''Transformers'', with its small parts and puzzle-based gimmick, tended to be aimed a few years older than that.
** Hasbro would not give up on the idea of a toyline designed to appeal to traditional action figure fans so soon, with next year's line introducing Action Masters, promoted as figures of Cybertronians who gave up their ability to transform to gain power, including many classic characters, making them just traditional action figures of robots. The transforming feature wasn't fully dropped, as each figure came with a weapon or vehicle accessory that could transform, but the fact that the main figures couldn't do such when the franchise is called '''''Transformers''''' was mocked by the action figure collectors and alienated older fans, being the final nail in the coffin as the the original toyline ended that year in America, and not even Takara imported the line for the Japanese audience like they at least tried with Pretenders. They fared better in Europe, where they lasted another year, amusingly with the last ones including Action Masters that ''could'' transform. Nowadays non-transforming figures are still made, but they're placed in sub-lines or sold as display collector items rather than being the main toyline of the year like Action Masters were.
** This is a major reason why the Franchise/TransformersAlignedUniverse was perceived as a failure by its designers, despite many of its individual components being successful. The main branches of it that actually came out and gained solid fanbases ended up being ''VideoGame/TransformersWarForCybertron'' and [[VideoGame/TransformersFallOfCybertron its sequel]] (aimed at older fans who grew up with ''Franchise/TransformersGeneration1''), ''WesternAnimation/TransformersPrime'' (aimed at older kids and teens introduced through the movies and the prior ''WesternAnimation/TransformersAnimated'', with some nods to older audiences), and ''WesternAnimation/TransformersRescueBots'' and its direct [[WesternAnimation/TransformersRescueBotsAcademy follow-up]] (aimed at very young children with a ParentalBonus or two). While they all succeeded to varying degrees at appealing to those audiences, any attempt to play with a SharedUniverse didn't work out, as fans would invariably be confused and put off by the fact that, {{Continuity Nod}}s aside, they were watching or playing something unlike whatever they were initially interested in. While the Optimus of all three is broadly recognizable as different takes on Optimus as an archetype, it's very difficult to see them as the same person. Efforts to properly combine the various branches, such as ''Literature/TransformersExodus'', were consistently unsuccessful and often saw {{Continuity Snarl}}s or BroadStrokes as a result. This [[https://www.deviantart.com/the-edude/art/The-Aligned-Continuity-696815706 comic]] sums up how much each entry in the Aligned Continuity can clash with each other in terms of tone, mood and style.
*** Even within the continuity family, ''WesternAnimation/TransformersRobotsInDisguise2015'' stands out for being very confused about its audience. It's a direct sequel to ''Prime'', but carries over very few of its characters in non-cameo roles and features a very different aesthetic and tone (being sort of in the middle between ''Prime'' and ''Rescue Bots''). To fans of ''Prime'', it comes across as a DenserAndWackier followup that [[ToughActToFollow fails to match up]] in any way, while newcomers are put off by the fact that it ''is'' a followup, and spends much of its time trying to build on plot points and ideas introduced in its predecessor, such as Optimus's death, the Thirteen, and Bumblebee becoming a leader. Even among Aligned completionists, it stands out for more or less ignoring the ''Cybertron'' games.
*** While Hasbro at least tried in most of the globe, the franchise's other owner Takara-Tomy had no regard for this when bringing Aligned media to Japanese markets. For starters, in an effort to appeal to the Japanese-market more numerous model kit crowd, all ''Prime'' toys were re-done as model kits that replaced most paint applications with stickers, which alienated older kids and collectors the toys originally aimed for. The ''Prime'' cartoon itself was subject to a GagDub aimed at pre-schoolers similar to ''Beast Wars'' beforehand, but its grittier tone and atmosphere didn't mesh well with the character quirks and intended audience. The result was that ''Prime'' bombed terribly in Japan, having the lowest viewership during its timeslot and the toys selling very low, along other budget mismanagaments. In an effort to recoup loses, the dub decided to rework the season 2 finale into the series finale, ending on a cliffhanger, and then making an original sequel straight-to-video anime series named ''Anime/TransformersGo''; this not only splits the Aligned Continuity into more branches, but its heavy aesthetic based on Japanese elements like ninja, samurai and yokai don't mesh well with the aesthetic or tone of ''Prime'', even with its gag dub, turning off even the fans ''Prime'' had over there. Furthermore the existence of ''Go!'' also hurts ''Robots in Disguise (2015)'' in this regard further, as when Takara imported it there were no changes to the story, which included references to the third season of ''Prime'', which would further confuse its intended audience and casual older fans unaware of ''Prime'''s original dub.
** The ''Power Core Combiners'' line was a notorious underperformer, with many of its figures ending up on steep clearance, and largely for this reason. It was released as a companion to the ''Generations'' line, with a similar tech-y realistic aesthetic and filling out price points ''Generations'' didn't at the time, which suggested it to be aimed at older collectors. However, the line also relied heavily on gimmicks, being based around CombiningMecha where the limbs transform automatically upon being inserted into huge bright blue pegs on the main body (and in a fashion that renders the arms almost entirely unposeable), something that seemingly implies they're aimed at younger kids. The line also received very little in the way of tie-in media, to the point that it's difficult to parse which continuity it even occupies, and featured few to no existing characters in favor of relying on {{Continuity Nod}}s. In all, it ended up being too gimmicky for collectors, lacked the star power for general fans, and wasn't particularly appealing to kids.
Is there an issue? Send a MessageReason:
The point I was trying to make there is that the reboot fundamentally cannot function as part of the same canon as the pre-2009 installments, but the creators (particularly Abrams and Kurtzman) refuse to acknowledge this fact, seemingly out of a belief that Viewers Are Morons. Said creators have also repeatedly expressed their loathing of classic Trek in interviews (which makes their attempts to Win Back The Crowd come across as hollow, insincere, and even hypocritical and insulting at worst).
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** ''Series/StarTrekPicard'' is ostensibly a SequelSeries to ''Series/StarTrekTheNextGeneration'' and featuring Creator/PatrickStewart as Picard some 20 years after [[''Film/StarTrekNemesis'' he was last seen]], but openly stated it was not to be a ReunionShow to avoid ContinuityLockout. But Creator/JeriRyan as [[Series/StarTrekVoyager Seven-Of-Nine]] joined the cast making it half established characters and half new characters, but the plot was built off multiple past [[ArcWelding story arcs converging]] and include constant {{Continuity Nod}}s anyway, in addition to sporadic TNG guest appearances that made the show unclear who it is supposed to be about. The third season decided to embrace itself as a SequelSeries and brings back [[PuttingTheBandBackTogether the entire TNG cast]] (which incidentally resulted in dropping some of the prior cast), and the results were generally better received.
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** ''Series/StarTrekPicard'' is ostensibly a SequelSeries to ''Series/StarTrekTheNextGeneration'' and featuring Creator/PatrickStewart as Picard some 20 years after [[''Film/StarTrekNemesis'' [[Film/StarTrekNemesis he was last seen]], but openly stated it was not to be a ReunionShow to avoid ContinuityLockout. But Creator/JeriRyan as [[Series/StarTrekVoyager Seven-Of-Nine]] joined the cast making it half established characters and half new characters, but the plot was built off multiple past [[ArcWelding story arcs converging]] and include constant {{Continuity Nod}}s anyway, in addition to sporadic TNG guest appearances that made the show unclear who it is supposed to be about. The third season decided to embrace itself as a SequelSeries and brings back [[PuttingTheBandBackTogether the entire TNG cast]] (which incidentally resulted in dropping some of the prior cast), and the results were generally better received.
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* The post-[[Film/StarTrek2009 2009 reboot]] ''Franchise/StarTrek'' shows in general seem to have this problem, trying to appeal to a more mainstream audience by being DarkerAndEdgier with a more actionized tone while also attempting to attract established fans with their many {{Mythology Gag}}s. This is especially the case with ''Series/StarTrekPicard'', which attempts to both court old-school [[FanCommunityNickname Trekkies]] by bringing back Creator/PatrickStewart and Creator/JeriRyan and be a blank slate for newcomers (a la ''Terminator: Dark Fate''). This is not helped by the [[FlipFlopOfGod creators' refusal to clarify]] whether it's a full-on ContinuityReboot or merely a SoftReboot.
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* The post-[[Film/StarTrek2009 2009 reboot]] ''Franchise/StarTrek'' shows ''Franchise/StarTrek''
** ''Series/StarTrekDiscovery'' was the first Star Trek show ingeneral seem 12 years, after the ''Film/{{Star Trek 2009}}'' AlternateTimeline that reinvigorated the franchise. It was announced to have be set in the PrimeTimeline ten years before ''Series/StarTrekTheOriginalSeries'', but featured a ''massive'' visual overhaul that [[CosmeticallyAdvancedPrequel contradicted this problem, timeline]] while being more in line with the visual design of the movies. The dramatically darker tone of the show, even taking pride in using a [[ObligatorySwearing franchise-first F-bomb]], also felt at odds with the optimism the characters would profess about Starfleet. It was also trying to appeal to be a more mainstream audience LowerDeckEpisode by being DarkerAndEdgier with a more actionized tone while also attempting to attract established fans with their many {{Mythology Gag}}s. This is especially focusing most of the case with ''Series/StarTrekPicard'', which attempts main cast as lower crew members and the actual senior staff of the titular Discovery only seen in passing, but it still fell headfirst into TheMainCharactersDoEverything that made the senior staff appear not just minor but irrelevant. It took several seasons before the show found a better balance, and notably was much LighterAndSofter in return.
** ''Series/StarTrekPicard'' is ostensibly a SequelSeries toboth court old-school [[FanCommunityNickname Trekkies]] by bringing back ''Series/StarTrekTheNextGeneration'' and featuring Creator/PatrickStewart and as Picard some 20 years after [[''Film/StarTrekNemesis'' he was last seen]], but openly stated it was not to be a ReunionShow to avoid ContinuityLockout. But Creator/JeriRyan as [[Series/StarTrekVoyager Seven-Of-Nine]] joined the cast making it half established characters and be a blank slate for newcomers (a la ''Terminator: Dark Fate''). This is not helped by half new characters, but the [[FlipFlopOfGod creators' refusal plot was built off multiple past [[ArcWelding story arcs converging]] and include constant {{Continuity Nod}}s anyway, in addition to clarify]] whether it's sporadic TNG guest appearances that made the show unclear who it is supposed to be about. The third season decided to embrace itself as a full-on ContinuityReboot or merely a SoftReboot.SequelSeries and brings back [[PuttingTheBandBackTogether the entire TNG cast]] (which incidentally resulted in dropping some of the prior cast), and the results were generally better received.
** ''Series/StarTrekDiscovery'' was the first Star Trek show in
** ''Series/StarTrekPicard'' is ostensibly a SequelSeries to
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Dick + Jason + Tim + Steph + Damian...am I missing something? Because that sounds like five...?
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* The ''ComicBook/New52'' era of Creator/DCComics is widely regarded as [[AudienceAlienatingEra one of its worst and most alienating eras]] for a variety of reasons, with one of the bigger ones being that despite heavily advertising itself as a ContinuityReboot of the DC Universe, it ended up not committing to that promise due to trying to have their cake and eat it too. The point of the reboot was to offer a clean slate to newcomers without [[ContinuityLockout the notorious baggage of decades-long continuity]], but many editors and writers weren't keen on suddenly abandoning their work (especially as they had only been given a couple of months to prepare, [[AbortedArc causing a lot of preexisting projects to be slashed]]), so many became increasingly magnetized to [[BroadStrokes accepting past continuity as]] ''[[BroadStrokes maybe]]'' [[BroadStrokes happening]], with no standardization in place to maintain the habit. The end result was that longtime fans were turned off as the sudden reset canned and radically altered stories and characters in favor of [[TheyChangedItNowItSucks newer revisions and takes that were seen as inferior]] (primarily with the editorially-mandated edict of making things DarkerAndEdgier, [[TooBleakStoppedCaring no matter how inappropriate and overwhelming]]), and prospective newcomers were turned off as despite promises of there being a complete reset in their favor, the old canon swiftly drifted back in [[ContinuitySnarl and made the state of continuity even more confusing to keep up with]] (anyone hopping into a post-"reboot" ComicBook/{{Batman}} story would have to learn that he's still had ''four'' different sidekicks named {{ComicBook/Robin}}). It especially didn't help when DC ''still'' felt the need to jump straight into massive crossover event comics built on spiking up sales with collective star power, advertised with the promise that they'd be radically changing the status quo, seemingly forgetting that they ''had'' no unified status quo, leaving all audiences confused, lost, and uninterested. DC eventually realized they made a worst-of-both-worlds situation that was losing them sales, leading to the ''ComicBook/DCRebirth'' initiative that [[UnReboot effectively re-canonized pre-reboot lore]], retrying the approach of settling down onto a new status quo for newcomers to hop on board with, but in a way [[ContinuityPorn that paid direct respect to the history longtime comic fans wanted from their series]], which proved critically and commercially more successful.
to:
* The ''ComicBook/New52'' era of Creator/DCComics is widely regarded as [[AudienceAlienatingEra one of its worst and most alienating eras]] for a variety of reasons, with one of the bigger ones being that despite heavily advertising itself as a ContinuityReboot of the DC Universe, it ended up not committing to that promise due to trying to have their cake and eat it too. The point of the reboot was to offer a clean slate to newcomers without [[ContinuityLockout the notorious baggage of decades-long continuity]], but many editors and writers weren't keen on suddenly abandoning their work (especially as they had only been given a couple of months to prepare, [[AbortedArc causing a lot of preexisting projects to be slashed]]), so many became increasingly magnetized to [[BroadStrokes accepting past continuity as]] ''[[BroadStrokes maybe]]'' [[BroadStrokes happening]], with no standardization in place to maintain the habit. The end result was that longtime fans were turned off as the sudden reset canned and radically altered stories and characters in favor of [[TheyChangedItNowItSucks newer revisions and takes that were seen as inferior]] (primarily with the editorially-mandated edict of making things DarkerAndEdgier, [[TooBleakStoppedCaring no matter how inappropriate and overwhelming]]), and prospective newcomers were turned off as despite promises of there being a complete reset in their favor, the old canon swiftly drifted back in [[ContinuitySnarl and made the state of continuity even more confusing to keep up with]] (anyone hopping into a post-"reboot" ComicBook/{{Batman}} story would have to learn that he's still had ''four'' ''five'' different sidekicks named {{ComicBook/Robin}}). It especially didn't help when DC ''still'' felt the need to jump straight into massive crossover event comics built on spiking up sales with collective star power, advertised with the promise that they'd be radically changing the status quo, seemingly forgetting that they ''had'' no had ''no'' unified status quo, leaving all audiences confused, lost, and uninterested. DC eventually realized they made a worst-of-both-worlds situation that was losing them sales, leading to the ''ComicBook/DCRebirth'' initiative that [[UnReboot effectively re-canonized pre-reboot lore]], retrying the approach of settling down onto a new status quo for newcomers to hop on board with, but in a way [[ContinuityPorn that paid direct respect to the history longtime comic fans wanted from their series]], which proved critically and commercially more successful.
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None
Changed line(s) 287,291 (click to see context) from:
* ''WesternAnimation/{{Velma}}'' has sparked many debates as to who the hell it's aimed at.
** The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxious SelfReferentialHumor.
** Its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-spirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place.
** The show's weirdly conservative sense of humor only muddies the waters further -- left-wing viewers are likely to be offended by the show's flippant treatment of [=#MeToo=] and PoliticalOvercorrectness, while right-wing viewers tuned out soon as they saw the AdaptationalDiversity.
** Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo, all of which left ''Velma'' with quite literally ''nothing'' to offer anyone.
** The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxious SelfReferentialHumor.
** Its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-spirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place.
** The show's weirdly conservative sense of humor only muddies the waters further -- left-wing viewers are likely to be offended by the show's flippant treatment of [=#MeToo=] and PoliticalOvercorrectness, while right-wing viewers tuned out soon as they saw the AdaptationalDiversity.
** Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo, all of which left ''Velma'' with quite literally ''nothing'' to offer anyone.
to:
* ''WesternAnimation/{{Velma}}'' has sparked many debates as to who the hell it's aimed at.
at, with various incompatible and contradictory elements contained within that ultimately leave the end result with what's largely agreed to be quite literally ''nothing'' for ''Velma'' to appeal to anyone with:
** The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxiousSelfReferentialHumor.
SelfReferentialHumor.
** Its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall even further into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-spirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place.
** The show's weirdly conservative sense of humor only muddies the waters further -- left-wing viewers are likely to be offended by the show's flippant treatment of [=#MeToo=] and PoliticalOvercorrectness, while right-wing viewers tuned outsoon as the instant they saw the AdaptationalDiversity.
AdaptationalDiversity on display amongst the gang.
** Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo,all of which left was released on the internet the year prior to Velma and is largely agreed to have done a much better job at what ''Velma'' with quite literally ''nothing'' tried (and ultimately failed) to offer anyone.accomplish.
** The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxious
** Its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall even further into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-spirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place.
** The show's weirdly conservative sense of humor only muddies the waters further -- left-wing viewers are likely to be offended by the show's flippant treatment of [=#MeToo=] and PoliticalOvercorrectness, while right-wing viewers tuned out
** Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo,
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s
Changed line(s) 289 (click to see context) from:
** Its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-pirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place.
to:
** Its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-pirited mean-spirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place.
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added missing link and copy/pasted what it said on the YMMV tab of that film
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* ''WesternAnimation/MissingLink'': Laika's past four films had a consistent tone of mysticism infused with fantasy and horror elements, which built a dedicated audience of adult animation fans. Missing Link, however, decided to go for a more comedic route, seemingly in an attempt to better appeal to children. However, the film is still adult-oriented in its premise and its humor, which can be distracting, and it does not strike the same balance something like Shrek achieved. Plus, the main character design of Mr. Link was ugly and off-putting to families. What made matters worse is that the trailers greatly exaggerated the comedic elements as if they were the entirety of the film, therefore turning off a lot of Laika's fanbase (i.e. the one group most likely to see the film) as well. This resulted in the film being a massive BoxOfficeBomb, to the point where the monetary gap between this film and Laika's previous lowest opening film domestically, ''WesternAnimation/KuboAndTheTwoStrings'', was nearly double Missing Link's total gross.
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* ''Series/{{Cursed}}'' never really seemed sure who its main target audience was. It was marketed as a FeministFantasy retelling of the Myth/ArthurianLegend but in practice it has little to do with the Arthurian mythology, merely using it as [[InNameOnly set dressing]] for a completely different story (nor does it work as a {{prequel}}). The show was also aimed towards teenagers with youthful protagonists, goofy comic relief and [[TeenDrama young adult-esque]] drama, yet simultaneously seemed to be trying to appeal to adults (especially ''Series/GameOfThrones'' fans) with graphic violence, semi-explicit sexual content and grim subjects like genocide; subsequently, the series came off as tonally inconsistent.
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* ''Series/{{Cursed}}'' ''Series/Cursed2020'' never really seemed sure who its main target audience was. It was marketed as a FeministFantasy retelling of the Myth/ArthurianLegend but in practice it has little to do with the Arthurian mythology, merely using it as [[InNameOnly set dressing]] for a completely different story (nor does it work as a {{prequel}}). The show was also aimed towards teenagers with youthful protagonists, goofy comic relief and [[TeenDrama young adult-esque]] drama, yet simultaneously seemed to be trying to appeal to adults (especially ''Series/GameOfThrones'' fans) with graphic violence, semi-explicit sexual content and grim subjects like genocide; subsequently, the series came off as tonally inconsistent.
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** The fanfic eventually gained a sequel, ''The Awakening''. As it turns out, it and ''Guardians'' are created from [[FanSubmittedContent characters sent by the readers and the author's inner circle]]. But the problem arose when it tried to get newer characters into the fray, and there weren't that many readers there to provide new characters, mostly due to the uncertain audience. While some did send their characters, they were in very minute amounts, and the series was left hanging without a conclusion [[DeadFic for a decade]].
to:
** The fanfic eventually gained a sequel, ''The Awakening''. As it turns out, it and ''Guardians'' are created from [[FanSubmittedContent [[OfficialFanSubmittedContent characters sent by the readers and the author's inner circle]]. But the problem arose when it tried to get newer characters into the fray, and there weren't that many readers there to provide new characters, mostly due to the uncertain audience. While some did send their characters, they were in very minute amounts, and the series was left hanging without a conclusion [[DeadFic for a decade]].
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** The fanfic eventually gained a sequel, ''The Awakening''. As it turns out, it and ''Guardians'' are created from [[FanSubmittedContent characters sent by the readers and the author's inner circle]]. But the problem arose when it tried to get newer characters into the fray, and there weren't that many readers there to provide new characters, mostly due to the uncertain audience. While some did send their characters, they were in very minute amounts, and the series was left hanging without a conclusion [[DeadFic for a decade]].
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* ''Literature/TheLightlarkSaga'': Many reviewers have noted that ''Lightlark'''s plot and setting are better suited to a [[MiddleGradeLiterature Middle Grade fantasy novel]], as the plot has enjoyable moments (usually when it's being a straight-forward adventure tale) and some of the more shallow or nonsensical parts of the worldbuilding wouldn't matter so much in a fantasy novel aimed at a younger audience.[[note]]notably, the author's previous works are middle grade fantasy books.[[/note]] However, the novel was marketed as [[YoungAdultLiterature Young Adult]] and contains teen/adult-oriented elements, such as strong violence, sexual content, the dark implications of the setting, a love triangle subplot and main protagonist Isla being around 19; the marketing was also geared towards readers who are fans of Creator/SarahJMaas and the like (Maas especially is known for combining fantasy with romance and her books are ''definitely'' aimed at older teens and adults). The mature content makes ''Lightlark'' inappropriate or unappealing for kids, but the story and writing can feel too contrived and simplistic to appeal to many older fantasy readers. Some adult readers also felt that because it was trying to appeal to a younger audience, it had to hold back on the sexual content (making the marketing feel [[NeverTrustATrailer misleading]] for promising "spicy" romance) and gloss over the truly grimdark moments such as the implications of the curses (Wildling's and Starling's are especially horrifying), leaving ''Lightlark'' stuck in an unsatisfying middle ground that couldn't truly realise its potential.
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* ''One For Sorrow, Two For Joy'' by Clive Woodall has [[BeigeProse un-complex prose]] that leaves little room for subtext, basic and cliched [[FlatCharacter characterization]] and a simplistic depiction of [[BlackAndWhiteMorality morality]], which gives the impression it's aimed at young children; the adaptation rights were also picked up by Creator/{{Disney}} (which is known for family-friendly talking animal movies) and the author stated the book originated as bedtime stories for his kids. However, this is [[WhatDoYouMeanItsForKids countered]] by the book revolving around a bird genocide with parallels to UsefulNotes/NaziGermany and containing a lot of strong, sadistic violence that goes beyond FamilyUnfriendlyViolence, including a graphic rape scene. Several reviews have noted the narrative content is way too dark for kids, but the writing itself is too bland and simple to appeal to most adults. Many {{xenofiction}} fans are also turned off the book due to it relying on [[ArtisticLicenseOrnithology inaccurate]] AnimalStereotypes rather than more realistic depictions (one of the most egregious being the depiction of crows and ravens as StupidEvil and DumbMuscle, when they're actually some of the most intelligent animals on the planet), while readers who aren't as concerned about this are less likely to be drawn to dark stories about anthropomorphic animals.
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* ''WesternAnimation/{{Velma}}'' has sparked many debates as to who the hell it's aimed at. The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxious SelfReferentialHumor. Furthermore, its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-pirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place. The show's weirdly conservative sense of humor only muddies the waters further -- left-wing viewers are likely to be offended by the show's flippant treatment of [=#MeToo=] and PoliticalOvercorrectness, while right-wing viewers tuned out soon as they saw the AdaptationalDiversity. Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo, all of which left ''Velma'' with quite literally ''nothing'' to offer anyone.
to:
* ''WesternAnimation/{{Velma}}'' has sparked many debates as to who the hell it's aimed at.
** The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxious SelfReferentialHumor. Furthermore, its
** Its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-pirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the firstplace. place.
** The show's weirdly conservative sense of humor only muddies the waters further -- left-wing viewers are likely to be offended by the show's flippant treatment of [=#MeToo=] and PoliticalOvercorrectness, while right-wing viewers tuned out soon as they saw theAdaptationalDiversity. AdaptationalDiversity.
** Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo, all of which left ''Velma'' with quite literally ''nothing'' to offer anyone.
** The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxious SelfReferentialHumor.
** Its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and mean-pirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first
** The show's weirdly conservative sense of humor only muddies the waters further -- left-wing viewers are likely to be offended by the show's flippant treatment of [=#MeToo=] and PoliticalOvercorrectness, while right-wing viewers tuned out soon as they saw the
** Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo, all of which left ''Velma'' with quite literally ''nothing'' to offer anyone.
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* Tonal issues such as trying to include [[CluelessAesop dramatic social commentary in a setting that was never suited to support it]] or the dialogue being punched up with humor in an otherwise serious situation, resulting in a tennis match of MoodWhiplash.
to:
* Tonal issues such as trying to include [[CluelessAesop dramatic social commentary in a setting that was never suited to support it]] it]], especially in a setting that's too over-the-top or fantastic to make for an understandable allegory, or the dialogue being punched up with humor in an otherwise serious situation, resulting in a tennis match of MoodWhiplash.
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Probably too many bullet points, trying to consolidate
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* An adaptation that [[TheyChangedItNowItSucks deviates from the source material such it displeased fans]] while not offering reason for the non-fans who wouldn't mind/like the changes to be interested in the work.
* A new installment in a series [[{{Retool}} makes major changes]] that displeases the existing fanbase in an effort to appeal to a wider audience, but the work is too [[ContinuityLockout tied-up in the existing lore]] to be accessible to newcomers. {{Prequel}}s in particular are prone to this due to their ForegoneConclusion nature.
* A {{Parody}} or {{Deconstruction}} that's too harsh for fans of the target while using enough elements from the target to alienate its haters, whether the elements are played straight (annoying the haters and possibly leading to IndecisiveParody) or made fun of (resulting in jokes the haters don't get because they rely on familiarity with the target, which the haters prefer to avoid). Even more so if it's a SelfParody or InternalDeconstruction.
* A bungled or misguided GenreShift, or a MidDevelopmentGenreShift that wasn't done thoroughly enough.
* An indecisive [[GenreRoulette gigantic melting pot]] of various genres combined into one. Alternatively, a conscious effort to avoid [[GenreBusting being categorized by any established genre]].
* A new installment in a series [[{{Retool}} makes major changes]] that displeases the existing fanbase in an effort to appeal to a wider audience, but the work is too [[ContinuityLockout tied-up in the existing lore]] to be accessible to newcomers. {{Prequel}}s in particular are prone to this due to their ForegoneConclusion nature.
* A {{Parody}} or {{Deconstruction}} that's too harsh for fans of the target while using enough elements from the target to alienate its haters, whether the elements are played straight (annoying the haters and possibly leading to IndecisiveParody) or made fun of (resulting in jokes the haters don't get because they rely on familiarity with the target, which the haters prefer to avoid). Even more so if it's a SelfParody or InternalDeconstruction.
* A bungled or misguided GenreShift, or a MidDevelopmentGenreShift that wasn't done thoroughly enough.
* An indecisive [[GenreRoulette gigantic melting pot]] of various genres combined into one. Alternatively, a conscious effort to avoid [[GenreBusting being categorized by any established genre]].
to:
* An adaptation that [[TheyChangedItNowItSucks [[InNameOnly deviates from the source material such to where it displeased fans]] while not offering reason for lacks any iconic elements of the non-fans who wouldn't mind/like work]], falling into a trap of using name recognition without appealing to fans of the changes to be interested in the work.
name.
* A new installmentin a series that [[{{Retool}} makes major changes]] that displeases the existing fanbase in an effort to appeal to a wider audience, but the work content is too [[ContinuityLockout tied-up in the existing lore]] to be accessible to newcomers. {{Prequel}}s in particular are prone to this due to their CallForward and ForegoneConclusion nature.
* A {{Parody}} or {{Deconstruction}}that's that becomes reductive to the characters, setting or genre, too harsh for fans mean spirited to stand on its own but with little else to offer but being aware of the target while using enough elements from "joke." May result in an IndecisiveParody and can be the target to alienate its haters, whether the elements are played straight (annoying the haters and possibly leading to IndecisiveParody) or made fun result of (resulting in jokes the haters don't get because they rely on familiarity with the target, which the haters prefer to avoid). Even more so if it's a SelfParody or InternalDeconstruction.
* Abungled or misguided GenreShift, or a MidDevelopmentGenreShift that wasn't done thoroughly enough.
* Anenough, likely a TroubledProduction resulting from CreativeDifferences. Alternatively an indecisive [[GenreRoulette gigantic melting pot]] of various genres combined into one. Alternatively, GenreShift, GenreRoulette or attempts at GenreBusting that lacks a conscious effort to avoid [[GenreBusting being categorized by any established genre]].stable reference point.
* A new installment
* A {{Parody}} or {{Deconstruction}}
* A
* An
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* Tonal problems; a work has trouble sticking to a consistent tone, resulting in a tennis match of MoodWhiplash.
* Trying to include [[CluelessAesop dramatic social commentary in a setting that was never suited to support it]].
* Trying to include [[CluelessAesop dramatic social commentary in a setting that was never suited to support it]].
to:
* Tonal problems; a work has trouble sticking to a consistent tone, resulting in a tennis match of MoodWhiplash.
* Tryingissues such as trying to include [[CluelessAesop dramatic social commentary in a setting that was never suited to support it]].it]] or the dialogue being punched up with humor in an otherwise serious situation, resulting in a tennis match of MoodWhiplash.
* Trying
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* TroubledProduction resulting from CreativeDifferences, where one person in power wanted the work to be one thing, and another wanted it to be very different (i.e. the director wanted something small and personal, the producer wanted something big and crowd-pleasing, the writer wanted it to be lighthearted, the editor wanted it to be gritty...).
to:
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* ''The Grimoire of the Necronomicon'' by Donald Tyson is a book that claims to be the foundation of an occult religion based off Literature/CthulhuMythos beings... barely. Most Cthulhu Mythos fans don't even believe in their existence, and would unlikely to be amused by Tyson's take, where instead of Earth being an InsignificantBluePlanet it's the main focus of the Great Old One's plans. Said Great Old Ones are InNameOnly and instead of being {{Eldritch Abomination}}s beyond human comprehension they've been shoehorned into becoming deities based off the seven classical planets. Actual occultists are turned off by the fact that the actual RitualMagic is extremely prosaic and simplified, effectively consisting of a few invocations around a highly minimalist "temple" of some rocks and lines. It's a book seemingly aimed at those who know about neither the Cthulhu Mythos nor occultism.
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* ''The Grimoire of the Necronomicon'' by Donald Tyson is a book that claims to be the foundation of an occult religion based off Literature/CthulhuMythos beings... barely. Most beings. However, most Cthulhu Mythos fans don't even believe in their existence, and would unlikely to be amused by Tyson's take, take on them, where instead of Earth being an InsignificantBluePlanet it's the main focus of the Great Old One's plans. Said Great Old Ones are InNameOnly and Additionally, instead of being {{Eldritch Abomination}}s beyond human comprehension they've been shoehorned into becoming comprehension, the Great Old Ones are interpreted as deities based off the seven classical planets. Actual occultists are turned off by the fact that the actual RitualMagic is extremely prosaic and simplified, effectively consisting of a few invocations around a highly minimalist "temple" of some rocks and lines.altar set up. It's a book seemingly aimed at those who know about neither the Cthulhu Mythos nor occultism.
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* ''WesternAnimation/{{Velma}}'' has sparked many debates as to who the hell it's aimed at. The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxious SelfReferentialHumor. Furthermore, its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and meanspirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place. Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo, all of which left ''Velma'' with quite literally ''nothing'' to offer anyone.
to:
* ''WesternAnimation/{{Velma}}'' has sparked many debates as to who the hell it's aimed at. The graphic violence, cursing, frank discussions of drugs and sex, and other such content make it inappropriate for the ''Franchise/ScoobyDoo'' franchise's traditional child demographic, while the nostalgic adult fans it's supposedly written for find the AudienceShift either poorly handled and unnecessary or cowardly and limp, and won't appreciate the rather extreme changes to characterization and tone. People who aren't ''Scooby-Doo'' fans, meanwhile, will just see yet another mediocre-at-best AnimatedShockComedy crammed full of obnoxious SelfReferentialHumor. Furthermore, its status as an [[OriginsEpisode origin story]] for the gang naturally makes it fall into the void between its potential audiences: newcomers don't have an attachment to these characters and thus don't care what their origin is, veteran fans don't ''want'' such a bleak and meanspirited mean-pirited story to be these characters' origins, and to everyone in-between the numerous changes to the cast and tone render it incompatible, and thus pointless, as an origin in the first place.place. The show's weirdly conservative sense of humor only muddies the waters further -- left-wing viewers are likely to be offended by the show's flippant treatment of [=#MeToo=] and PoliticalOvercorrectness, while right-wing viewers tuned out soon as they saw the AdaptationalDiversity. Finally, even people who ''want'' a DarkerAndEdgier take on the ''Scooby-Doo'' characters aren't hurting for options: official entries like ''WesternAnimation/ScoobyDooOnZombieIsland'', ''WesternAnimation/ScoobyDooMysteryIncorporated'', ''ComicBook/ScoobyApocalypse'', and ''[[Recap/SupernaturalS13E16ScoobyNatural ScoobyNatural]]'' already exist as earlier and better-received examples, ''tons'' of grotesquely dark skits done by the likes of ''Website/CollegeHumor'', ''WesternAnimation/RobotChicken'', ''WesternAnimation/FamilyGuy'', ''WesternAnimation/TheVentureBrothers'', and ''WesternAnimation/TheScoobyDooProject'' have done the concept to the point of StockParody, and even the fan project ''WebVideo/MysteryIncorporated2022'' which tackled the idea of a serious adult Scooby-Doo, all of which left ''Velma'' with quite literally ''nothing'' to offer anyone.
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[[folder:Webcomic]]
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* ''Webcomic/{{Sinfest}}'': The [[FilibusterFreefall post-2011 Sisterhood story]] focus turned away many readers who weren't already on the same page as the creator when it came to sex-work exclusionary radical feminism, and the post-2019 turned away all of those that weren't trans-exclusionary radical feminists so opposed to trans rights that they were willing to embrace "woke" hysteria and swing out hard against political correctness. The target audience of sex-negative radical feminists who hate trans people so much that they’re willing to join forces with anti-medicine conspiracy theorists, religious fundamentalists, and other groups who would otherwise hate them on principle, but are also super into cute manga-influenced art and the years of BlackComedy and religion-themed humor that preceded it, definitely seems like a niche demographic. Part of the problem at least stems from the creator's very bizarre mash-up of political beliefs. Ishida is a radical male feminist who opposes "gender ideology" while looking down his nose at people who took COVID seriously and he seems to support Donald Trump. While holding any one of those beliefs isn't unusual, they are all very polarizing and any audience member regardless of their politics will more than likely be offended by at least one of them, making it hard to parse what sort of overall message the author is attempting to communicate. The fact that Ishida is very vocal about his politics will turn off people who just want to enjoy a good story especially since politics has gotten way harder to avoid since the days of Occupy Wall Street, and the fact that the strip itself has slowly-but-surely transitioned into pretty much a straight political cartoon, only the exact political spectrum he's attempting to court is nigh incomprehensible to most readers, leading to most of its current audience [[BileFascination being ironic ones]].
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* ''Anime/AbunaiSisters'' is a short-lived {{Celebrity Toon|s}} starring the Kano sisters, Mika and Kyoko. The series features simplistic {{slapstick}} comedy and juvenile plots, but also gratuitous amounts of MaleGaze and constant attempts at {{Fanservice}}. This results in something that's too childish for adults, but too sexually charged for children.
to:
* ''Anime/AbunaiSisters'' is a short-lived {{Celebrity Toon|s}} starring the Kano sisters, Mika and Kyoko. The series features simplistic {{slapstick}} comedy and juvenile plots, but also constant, gratuitous amounts of MaleGaze shots and constant attempts at {{Fanservice}}. This results in something that's too childish for adults, but too sexually charged for children.younger viewers.
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* The Creator/{{Hasbro}} "Retro Collection" and "Adventure Series" releases for ''Film/IndianaJonesAndTheDialOfDestiny'' ran headlong into this challenge, as noted in [[https://www.youtube.com/watch?v=yU_ZkUp-G4E several]] [[https://www.youtube.com/watch?v=2Ht1PnU926E online]] features devoted to detailing concerns. The "Retro Collection" featured a reissue of toys made for ''Film/RaidersOfTheLostArk'' in the early 80s, ostensibly to cater to fan demand. The problem is that the line reissued wanted figures (like the original Marion Ravenwood and Indy himself) with infamously-poor selling figures like the Mechanic and German Soldier, which were brought back even though they failed to sell the first time. It didn't help that reviews of the Retro Collection pointed out that the figures could easily break or fail to function correctly, meaning it was unlikely to have much value to children (who needed to have familiarity with ''Raiders'' in the first place, notwithstanding the selection of figures on offer), and still far too sporadic a release to appeal to hardcore collectors, who were being pushed towards the Adventure Series and looked at the retro figures as cheaply made. On the flipside, the Adventure Series were expensive toys (running upwards of several hundred dollars to purchase each "wave" of figures), that failed to find much traction after it was revealed that (a) several fan-demanded figures, including the ''Film/TempleOfDoom''-era Indy, [[Film/IndianaJonesAndTheLastCrusade Donovan]] and [[Creator/SeanConnery Henry Jones]] were being held back for future waves, (b) the first wave focused exclusively on ''Raiders'' instead of the new film, ''Film/IndianaJonesAndTheDialOfDestiny'', and (c) the subsequent second wave devoted more than half of its seven-figure selection to variants of Indy. It didn't help that the collection leaned into the "Build-a-Relic" scheme that partially tanked the 2008 toyline for ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' (a collector had to get all the figures in the line to make up a bonus toy, or otherwise be left with random parts that didn't go with anything else). The resulting Adventure Series waves got a mixed response from collectors, with Hasbro dialing back publicity for the collection just after ''Dial of Destiny'' was released, and the line expected to end with Wave 3.
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* The Creator/{{Hasbro}} "Retro Collection" and "Adventure Series" releases for ''Film/IndianaJonesAndTheDialOfDestiny'' ran headlong into this challenge, as noted in [[https://www.youtube.com/watch?v=yU_ZkUp-G4E several]] [[https://www.youtube.com/watch?v=2Ht1PnU926E online]] features devoted to detailing concerns. The "Retro Collection" featured a reissue of toys made for ''Film/RaidersOfTheLostArk'' in the early 80s, ostensibly to cater to fan demand. The problem is that the line reissued wanted figures (like the original Marion Ravenwood and Indy himself) with infamously-poor selling figures like the Mechanic Mechanic, Toht and German Soldier, the Swordsman, which were brought back even though they failed to sell the first time. It didn't help that reviews of the Retro Collection pointed out that the figures could easily break or fail to function correctly, meaning it was unlikely to have much value to children (who needed to have familiarity with ''Raiders'' in the first place, notwithstanding the selection of figures on offer), and still far too sporadic a release to appeal to hardcore collectors, who were being pushed towards the Adventure Series and looked at the retro figures as cheaply made. On the flipside, the Adventure Series were expensive toys (running upwards of several hundred dollars to purchase each "wave" of figures), that failed to find much traction after it was revealed that (a) several fan-demanded figures, including the ''Film/TempleOfDoom''-era Indy, [[Film/IndianaJonesAndTheLastCrusade Donovan]] and [[Creator/SeanConnery Henry Jones]] were being held back for future waves, (b) the first wave focused exclusively on ''Raiders'' instead of the new film, ''Film/IndianaJonesAndTheDialOfDestiny'', and (c) the subsequent second wave devoted more than half of its seven-figure selection to variants of Indy. It didn't help This meant that the collection leaned into the "Build-a-Relic" scheme that partially tanked the 2008 toyline for ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' (a collector line functionally had to get all cater to fans (who were growing sick of the same figures in the line to make up a bonus toy, or otherwise be left with random parts being released ad nauseum) shelling out money for products that didn't go with anything else). were largely outside the price range of the target market the film was (at least partially) catering to. The resulting Adventure Series waves collection got a mixed response from collectors, with Hasbro dialing back publicity for the collection just after ''Dial of Destiny'' was released, and the line expected to end with Wave 3.
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* The Creator/{{Hasbro}} "Retro Collection" and "Adventure Series" releases for ''Film/IndianaJonesAndTheDialOfDestiny'' ran headlong into this challenge, as noted in [[https://www.youtube.com/watch?v=yU_ZkUp-G4E several]] [[https://www.youtube.com/watch?v=2Ht1PnU926E online]] features devoted to detailing concerns. The "Retro Collection" featured a reissue of toys made for ''Film/RaidersOfTheLostArk'' in the early 80s, ostensibly to cater to fan demand. The problem is that the line reissued wanted figures (like the original Marion Ravenwood and Indy himself) with infamously-poor selling figures like the Mechanic and German Soldier, which were brought back even though they failed to sell the first time. It didn't help that reviews of the Retro Collection pointed out that the figures could easily break or fail to function correctly, meaning it was unlikely to have much value to children (who needed to have familiarity with ''Raiders'' in the first place, notwithstanding the selection of figures on offer), and still far too sporadic a release to appeal to hardcore collectors, who were being pushed towards the Adventure Series and looked at the retro figures as cheaply made. On the flipside, the Adventure Series were expensive toys (running upwards of several hundred dollars to purchase each "wave" of figures), that failed to find much traction after it was revealed that (a) several fan-demanded figures, including the ''Film/TempleOfDoom''-era Indy, [[Film/IndianaJonesAndTheLastCrusade Donovan]] and [[Creator/SeanConnery Henry Jones]] were being held back for future waves, (b) the first wave focused exclusively on ''Raiders'' instead of the new film, ''Film/IndianaJonesAndTheDialOfDestiny'', and (c) the subsequent second wave devoted more than half of its seven-figure selection to variants of Indy. It didn't help that the collection leaned into the "Build-a-Relic" scheme that partially tanked the 2008 toyline for ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' (a collector had to get all the figures in the line to make up a bonus toy, or otherwise be left with random parts that didn't go with anything else). The resulting Adventure Series waves got a mixed response from collectors, with Hasbro dialing back publicity for the collection just after ''Dial of Destiny'' was released, and the line expected to end with Wave 3.
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* ''ComicBook/AmethystPrincessOfGemworld'' fell victim to this throughout nearly all of its runs after its original and most successful run. The original comic was conceived before the MagicalGirlWarrior was codified in the West (to put it in perspective, ''Manga/SailorMoon'' would not debut on American television for more than a decade after the original maxi-series) leaving the creators with no idea where to go with a princess character that journeyed between Earth and Gemworld. Their solution was to make the series a full-on horror title that proved extremely unpopular and was quickly cancelled. Several decades later, after the MagicalGirlWarrior had been codified, and following a series of well-received animated shorts, DC revived the character for the ComicBook/New52 relaunch in the pages of ''Sword Of Sorcery'', as an adult targeted title with heavy themes that included attempted rape, while having nothing in common with the shorts. The book proved unpopular and was cancelled after failed attempts to bring in readers. In 2020, a new ''Amethyst'' miniseries was published, eschewing MagicalGirlWarrior tropes in favor of heavy, complex, and mostly boring political intrigue that once again, proved unpopular with readers. While the surface trappings of a magical princess being TrappedInAnotherWorld would repel male readers and older readers, the heavy focus on elements like horror and politics turned away anyone looking for a MagicalGirlWarrior series, resulting in low readership and short runs.
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* ''ComicBook/AmethystPrincessOfGemworld'' fell victim to this throughout nearly all of its runs after its original and most successful run. The original comic was conceived before the MagicalGirlWarrior was codified in the West (to put it in perspective, ''Manga/SailorMoon'' would not debut on American television for more than a decade after the original maxi-series) leaving the creators with no idea where to go with a princess character that journeyed between Earth and Gemworld. Their solution was to make the series a full-on horror title that title, which proved extremely unpopular (as it would be long before ''Franchise/PuellaMagiMadokaMagica'' popularized magical girl horror) and was quickly cancelled. Several decades later, after the MagicalGirlWarrior had been codified, and following a series of well-received animated shorts, DC revived the character for the ComicBook/New52 relaunch in the pages of ''Sword Of Sorcery'', as an adult targeted title with heavy themes that included attempted rape, while having nothing in common with the shorts. The book proved unpopular and was cancelled after failed attempts to bring in readers. In 2020, a new ''Amethyst'' miniseries was published, eschewing MagicalGirlWarrior tropes in favor of heavy, complex, and mostly boring political intrigue that once again, proved unpopular with readers. While the surface trappings of a magical princess being TrappedInAnotherWorld would repel male readers and older readers, the heavy focus on elements like horror and politics turned away anyone looking for a MagicalGirlWarrior series, resulting in low readership and short runs.
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* ''Series/{{Glee}}'', especially in its first season. It meshes things like oral sex jokes with the teeny angst of ''Series/{{Degrassi}}'' and the kind of {{anvilicious}} messages you'd expect from an 80s kids cartoon along with the cutesy singing appeal of Music/KidzBop and Music/TheWiggles. Based on comments from the writers, it eventually decided it was mainly for Tweens.
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* ''Series/{{Glee}}'', especially in its first season. It meshes things like oral sex jokes with the teeny angst of ''Series/{{Degrassi}}'' ''Series/{{Degrassi|TheNextGeneration}}'' and the kind of {{anvilicious}} messages you'd expect from an 80s kids cartoon along with the cutesy singing appeal of Music/KidzBop and Music/TheWiggles. Based on comments from the writers, it eventually decided it was mainly for Tweens.
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* ''[[Fanfic/SuperSmashBrothersGuardiansArise Super Smash Bros.: Guardians Arise!]]'' has a problem with this in that it's confused on the kind of tone it wants to bring out. The series starts on a very grim note, with people being forced to slavery by Tabuu, many of the Smashers' allies killed or turned evil, and the Smashers wallowing in angst over their "failure" to be with their loved ones due to battling Tabuu; not that the Guardians or Tabuu himself are any better. But once the story establishes itself, it introduces lighthearted moments that include referencing internet memes and comedic statements and undertones that utterly [[MoodWhiplash contrast]] with the established dark tone, and this confusion between light and dark plays out like a ping-pong match. Readers who came in expecting a somewhat lighthearted story are turned off by the bleak atmosphere of the work, while readers who did find the dark tone appealing are turned off by the level of comedy and lightheartedness that the fanfic introduces later on, ultimately making it a very hard read for anyone in this regard. The fanfic was created by [[AuthorAvatar Author Avatars]] who wanted to create a fun work, but the work's inconsistent atmosphere make it a hard sell.
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* ''[[Fanfic/SuperSmashBrothersGuardiansArise Super Smash Bros.: Guardians Arise!]]'' has a problem with this in that it's confused on the kind of tone it wants to bring out. The series starts on a very grim note, with people being forced to slavery by Tabuu, many of the Smashers' allies killed or turned evil, and the Smashers wallowing in angst over their "failure" to be with their loved ones due to battling Tabuu; not that the Guardians (mostly composed of people going through similar losses and some acting like outright [[JerksAreWorseThanVillains jerkasses]]) or Tabuu (who is a rather malicious BigBad enforcing slavery and is responsible for killing off much of the heroes' friends or turning them evil) himself are any better. But once the story establishes itself, it introduces lighthearted moments that include referencing internet memes and comedic statements and undertones that utterly [[MoodWhiplash contrast]] with the established dark tone, and this confusion between light and dark plays out like a ping-pong match. Readers who came in expecting a somewhat lighthearted story are turned off by the bleak atmosphere of the work, while readers who did find the dark tone appealing are turned off by the level of comedy and lightheartedness that the fanfic introduces later on, ultimately making it a very hard read for anyone in this regard. The fanfic was created by [[AuthorAvatar Author Avatars]] who wanted to create a fun work, but the work's inconsistent atmosphere make it a hard sell.sell.
** Case in point, much of the lore used in the series' home franchises (in particular, ''Franchise/TheLegendOfZelda'' and ''Franchise/FireEmblem'') are rather butchered and axed to a degree. Readers unfamiliar with the source lore might have a hard time understanding some or most of the lingo used in the story, but those who are indeed familiar are repulsed at how they're treated in story. The Fire Emblem lore most commonly used in the story is the [[VideoGame/FireEmblemPathOfRadiance Tellius]] [[VideoGame/FireEmblemRadiantDawn lore]], which would seem a bit unfamiliar to non-Fire Emblem readers, yet the cast of those games [[spoiler: sans Rafiel]] are completely dead, with Ike, one of the series' core protagonists left to wallow in his angst; which may come off as [[TooBleakStoppedCaring a bit too much for normal fare]].
** The fanfic also goes into other franchises that aren't even related to ''Smash'' at all. [[spoiler: Chester, Pichu's guardian, hails from the world of ''Film/TheNightmareBeforeChristmas''. While one can make the argument that he could be tied with people like [[Franchise/KingdomHearts Sora]] (who wouldn't join Smash until eleven years after the fic was published), the fic makes no connections or BroadStrokes to said franchise, and the character comes off as a straight ''Nightmare Before Christmas'' OC. Eclipse, who is Wario's guardian, actually hails from [[Franchise/TouhouProject Gensokyo]]; the ''Touhou'' series, while a popular request for roster inclusion, has never been involved in Smash at all, alienating casual readers expecting a Smash-centered fanfic. Yet readers who are familiar with the source material might find it odd that none of the ''Touhou'' cast appear in the fic at all or get mentioned; [[InferredHolocaust possible even dying like the rest of the supporting casts]].]]
** Case in point, much of the lore used in the series' home franchises (in particular, ''Franchise/TheLegendOfZelda'' and ''Franchise/FireEmblem'') are rather butchered and axed to a degree. Readers unfamiliar with the source lore might have a hard time understanding some or most of the lingo used in the story, but those who are indeed familiar are repulsed at how they're treated in story. The Fire Emblem lore most commonly used in the story is the [[VideoGame/FireEmblemPathOfRadiance Tellius]] [[VideoGame/FireEmblemRadiantDawn lore]], which would seem a bit unfamiliar to non-Fire Emblem readers, yet the cast of those games [[spoiler: sans Rafiel]] are completely dead, with Ike, one of the series' core protagonists left to wallow in his angst; which may come off as [[TooBleakStoppedCaring a bit too much for normal fare]].
** The fanfic also goes into other franchises that aren't even related to ''Smash'' at all. [[spoiler: Chester, Pichu's guardian, hails from the world of ''Film/TheNightmareBeforeChristmas''. While one can make the argument that he could be tied with people like [[Franchise/KingdomHearts Sora]] (who wouldn't join Smash until eleven years after the fic was published), the fic makes no connections or BroadStrokes to said franchise, and the character comes off as a straight ''Nightmare Before Christmas'' OC. Eclipse, who is Wario's guardian, actually hails from [[Franchise/TouhouProject Gensokyo]]; the ''Touhou'' series, while a popular request for roster inclusion, has never been involved in Smash at all, alienating casual readers expecting a Smash-centered fanfic. Yet readers who are familiar with the source material might find it odd that none of the ''Touhou'' cast appear in the fic at all or get mentioned; [[InferredHolocaust possible even dying like the rest of the supporting casts]].]]
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* The second season of the Netflix documentary series ''African Queens'', focusing on UsefulNotes/CleopatraVII quickly became one of the worst reviewed things on the platform ever (with a whopping 1% audience rating on Rotten Tomatoes, and only 15% from critics). Firstly, Cleopatra is considered an overexposed figure, alienating enthusiasts who felt the series couldn't offer anything not explored already. Most controversially, the decision to depict Cleopatra as a Black woman, citing the unsubstantiated theory by Hilke Thür that she might have had African heritage. This was done, per WordOfGod, to provide African-Americans with positive representation, but the majority of Black viewers found the RaceLift insulting, citing numerous Black figures who could have been spotlighted instead (especially given Cleopatra's overexposure in media). The series being presented as a docudrama rather than HistoricalFiction, and numerous other historical inaccuracies turned off history buffs who might have been more receptive to it, especially Egyptian audiences, some of which cited feeling like the show was trying to take their history and culture away from them. One review even described it as "too soapy for serious history fans, but not enough of a soap for viewers who like juicy historical dramas".
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* The second season of the Netflix documentary series ''African Queens'', focusing on UsefulNotes/CleopatraVII quickly became one of the worst reviewed things on the platform ever (with a whopping 1% audience rating on Rotten Tomatoes, and only 15% from critics). Firstly, Cleopatra is considered an overexposed figure, alienating enthusiasts who felt the series couldn't offer anything not explored already. Most controversially, the decision to depict Cleopatra as a Black woman, citing the unsubstantiated theory by Hilke Thür that she might have had African heritage. This was done, per WordOfGod, to provide African-Americans with positive representation, but the majority of Black viewers found the RaceLift insulting, citing numerous unambiguously Black figures who could have been spotlighted instead (especially given Cleopatra's overexposure in media). The series being presented as a docudrama rather than HistoricalFiction, and numerous other historical inaccuracies turned off history buffs who might have been more receptive to it, especially Egyptian audiences, some of which cited feeling like the show was trying to take their history and culture away from them. One review even described it as "too soapy for serious history fans, but not enough of a soap for viewers who like juicy historical dramas".
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* ''Series/JurassicFightClub'' suffers heavily from its inability to decide who it was supposed to be catering to. People who wish to be educated about prehistoric animals and/or want them to be represented realistically are going to be put off by each episode’s end goal being an [[UltimateShowdownOfUltimateDestiny overblown brawl]] that oftentimes [[ArtisticLicenseBiology contradicts real-life animal behavior]] (to put it mildly). Meanwhile, those that just want a prehistoric slugfest will likely be bored by large chunks of each episode being dedicated to talking heads discussing paleontological trivia (with most of it being [[ArtisticLicensePaleontology inaccurate]] or [[ScienceMarchesOn not up to date]]), often by repeating the same point over and over again. Most adults are likely to find this show pretty juvenile and gratuitous due to its SkewedPriorities, while all the excessive {{Gorn}} makes it unsuitable for young children. So the only real demographic left is adolescents with an interest in paleontology, who will then see the show’s many errors once they grow up and get a better grasp on the subject that interests them (as many of its current detractors have).
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* ''Series/JurassicFightClub'' suffers heavily from its inability to decide who it was supposed to be catering to. People who wish to be educated about prehistoric animals and/or want them to be represented realistically are going to be put off by each episode’s end goal being an [[UltimateShowdownOfUltimateDestiny overblown brawl]] that oftentimes [[ArtisticLicenseBiology contradicts real-life animal behavior]] (to put it mildly). Meanwhile, those that just want a prehistoric slugfest will likely be bored by large chunks of each episode being dedicated to talking heads discussing paleontological trivia (with most of it being [[ArtisticLicensePaleontology inaccurate]] or [[ScienceMarchesOn not up to date]]), often by repeating the same point over and over again. Not helping matters is how many of the fights end up being little more than a dragged-out CurbStompBattle, due to one combatant easily outclassing the others in terms of size and strength (i.e. ''Allosaurus'' vs the smaller ''Ceratosaurus''). Most adults are likely to find this show pretty juvenile and gratuitous due to its SkewedPriorities, while all the excessive {{Gorn}} makes it unsuitable for young children. So the only real demographic left is adolescents with an interest in paleontology, who will then see the show’s many errors once they grow up and get a better grasp on the subject that interests them (as many of its current detractors have).
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* MoodWhiplash that plays out like a tennis match, never settling on one tone.
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* MoodWhiplash that plays out like Tonal problems; a work has trouble sticking to a consistent tone, resulting in a tennis match, never settling on one tone.match of MoodWhiplash.
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* Creator/AlanMoore's ''ComicBook/TheLeagueOfExtraordinaryGentlemen'' is famous for being [[MassiveMultiplayerCrossover a truly gargantuan crossover story involving characters and stories from all across fiction]], but also for a questionable approach that's given it a very inconsistent audience. On one hand, [[ReferenceOverdosed the sheer scope of fiction being referenced is both massive]] and at times highly esoteric, either requiring annotations or [[ViewersAreGeniuses a presumed high level of respect and knowledge of said media]] to fully understand what's happening. At the same time, the series is very much a DeconstructiveParody that's often very critical of said stories, with Moore [[{{Grimmification}} often highlighting the less savory aspects of characters and their fiction]] to an often quite unflattering or unsettling point. As a result, readers tended to be engaged but not without heavy criticism -- those with wide tastes and love crossovers expecting a fun tribute often complain about [[AuthorTract its often vindictive tone]] (some elements like its parodies of Franchise/JamesBond and Franchise/HarryPotter being criticized for coming off as [[ShallowParody shallow hatchet jobs]]), and even die-hard Moore fans admit that it's not an exactly ''inviting'' book, where you have to be just as understanding but also [[NewMediaAreEvil contemptuous of modern fiction]] as Moore to not take issue with it.
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* Creator/AlanMoore's ''ComicBook/TheLeagueOfExtraordinaryGentlemen'' is famous for being [[MassiveMultiplayerCrossover a truly gargantuan crossover story involving characters and stories from all across fiction]], but also for a questionable approach that's given it a very inconsistent audience. On one hand, [[ReferenceOverdosed the sheer scope of fiction being referenced is both massive]] and at times highly esoteric, either requiring annotations or [[ViewersAreGeniuses a presumed high level of respect and knowledge of said media]] to fully understand what's happening. At the same time, the series is very much a DeconstructiveParody that's often very critical of said stories, with Moore [[{{Grimmification}} often highlighting the less savory aspects of characters and their fiction]] to an often quite unflattering or unsettling point. As a result, readers tended to be engaged but not without heavy criticism -- those with wide tastes and love crossovers expecting a fun tribute often usually complain about [[AuthorTract its often vindictive tone]] (some elements like its parodies of Franchise/JamesBond and Franchise/HarryPotter being criticized for coming off as [[ShallowParody shallow hatchet jobs]]), and even die-hard Moore fans admit that it's not an exactly ''inviting'' book, where you have to be just as understanding but also [[NewMediaAreEvil contemptuous of modern fiction]] as Moore to not take issue with it.
