History UsefulNotes / TheNewTens

11th Feb '16 3:49:13 AM jormis29
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* The popularity of film superheroes has also translated to TV: ''Marvel's Agents of S.H.I.E.L.D." sparked a slew of successful shows such as ''Gotham'', ''Supergirl'', the [[Series/{{Arrow}} Arrowverse]] [[Series/TheFlash shows]], and the [[Series/{{Daredevil 2015}} Marvel]] [[Series/JessicaJones2015 Netflix]] [[Series/LukeCage2016 shows]] (with ''Arrow'' having premiered one year before "S.H.I.E.L.D."). ''The Walking Dead'' has also become a testament on how influential comic books in general have been during the decade.
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* The popularity of film superheroes has also translated to TV: ''Marvel's Agents of S.H.I.E.L.D." Series/AgentsOfSHIELD sparked a slew of successful shows such as ''Gotham'', ''Supergirl'', ''Series/{{Gotham}}'', ''Series/{{Supergirl|2015}}'', the [[Series/{{Arrow}} Arrowverse]] [[Series/TheFlash [[Series/TheFlash2014 shows]], and the [[Series/{{Daredevil 2015}} Marvel]] [[Series/JessicaJones2015 Netflix]] [[Series/LukeCage2016 shows]] (with ''Arrow'' having premiered one year before "S.H.I.E.L.D."). ''The Walking Dead'' has also become a testament on how influential comic books in general have been during the decade.
9th Feb '16 3:37:04 PM Adept
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* The transition of Caitlyn Jenner and her appearance on the June 2015 cover of ''VanityFair'' brought transgender issues and acceptance to the very forefront of American public discourse.
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* The transition of Caitlyn Jenner and her appearance on the June 2015 cover of ''VanityFair'' ''Literature/VanityFair'' brought transgender issues and acceptance to the very forefront of American public discourse.
7th Feb '16 5:55:49 PM WhatArtThee
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I wouldn't really say 2013-2015 was a dark time for films, given the many successes during this time.
* The popularity of [[AllCGICartoon computer-animated features]] on the big screen continued apace from the TurnOfTheMillennium and has greatly benefited from the ThreeDMovie revival, although the diminishing market for family films has been a persistent roadblock for a good part of the decade.
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* The popularity of [[AllCGICartoon computer-animated features]] on the big screen continued apace from the TurnOfTheMillennium and has greatly benefited from the ThreeDMovie revival, although the diminishing market for family films has been a persistent roadblock for a good part of the decade.revival.

* Creator/StevenSpielberg said in 2013 at a press conference with Creator/GeorgeLucas that the blockbuster-driven film industry both directors created four decades ago with ''Film/{{Jaws}}'', ''Franchise/StarWars'' and ''Franchise/IndianaJones'' could blow up very soon. Shortly afterward, half-a-dozen mega-budgeted SummerBlockbuster-wannabes failed with critics and audiences alike after two years of constant CriticalDissonance between both (victims included ''Film/TheLoneRanger'', ''Film/PacificRim'', ''Film/AfterEarth'' and ''Film/OlympusHasFallen''); most of the highest-grossing films of the year were sequels or other extensions of previous hits (''Film/IronMan3'', ''Film/TheFastAndTheFurious 6'', ''WesternAnimation/DespicableMe2'', ''Film/MonstersUniversity'', and ''Film/ManOfSteel'' [''Franchise/{{Superman}}'']). Recalling the then-recent "Django" scandal, Spielberg also mentioned that his ''Film/{{Lincoln}}'' almost premiered on cable TV, highlighting the industry obsession with inoffensive, franchise-based blockbusters aimed at youthful demographics -- something that many TV producers have complained about. This trend extended during 2014 (recording a 6% drop from an already dismal '13), with only ''three'' movies not based on a so-called "hot" propriety grossing more than $200 million worldwide[[note]]Although ''Film/GuardiansOfTheGalaxy'' became the highest-grossing film in North America[[/note]]. * 2015 however, has probably become a turning point for a seemingly irreversible decline. As the economy recovered, many films surpassed their expectations: ''WesternAnimation/{{Home}}'' ended Dreamworks' long parade of flops, while ''Film/JurassicWorld'' literally stomped over its' competition... except for ''WesternAnimation/InsideOut'', which also ended the crisis family films had endured, while the more adult humor of films like ''Film/{{Ted 2}}'' and ''Film/{{Pixels}}'' has floundered in box-office terms. Other established formulas have been put in doubt as well, as the adaptations of the books ''Fifty Shades'' and ''Paper Towns'', while very successful, both ended up being extremely front-loaded, and ''Film/{{Aloha}}'', ''Film/{{Tomorrowland}}'', ''Film/JupiterAscending'', ''Seventh Son'', ''Film/TerminatorGenisys'', ''Film/VictorFrankenstein'', ''[[Film/TheManFromUncle2015 The Man From U.N.C.L.E.]]'', ''Film/TheLastWitchHunter'', ''Film/CrimsonPeak'', ''Film/{{Pan}}'' and most humiliatingly ''[[Film/FantasticFour2015 FANT4STIC]]'' all became financial failures in spite of having big names. ** 2015 ironically also became the year when two of the biggest box-office bombs ''ever'' were released: Both ''Rock the Kasbah'' and ''Jem and the Holograms'' grossed not more than ''two million'' each in their opening weekend. On the exact same weekend no less. Overall, they trail only ''Film/TheOogielovesInTheBigBalloonAdventure'', ''Film/{{Delgo}}'' and the 10th anniversary re-release of ''Film/SawI'' as the worst opening wide-release films in history.
7th Feb '16 5:51:35 PM WhatArtThee
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** The decade started out poor for anime, with the collapse of Toonami still lingering, the loss of many prominent dubbing companies, and a string of poorly performing shows. However, since 2012, Anime has been enjoying a massive revival in the west, thanks to the revival of Toonami, the success of streaming services like Neon Alley and Crunchyroll, new dubbing companies like NIS America and Section23 Films rising to the fore, and a multitude of smash hits such as ''[[Anime/AttackOnTitan]]'', ''[[Anime/OnePunchMan]]'' and [[Anime/JoJosBizzareAdventure]]''.
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** The decade started out poor for anime, with the collapse of Toonami still lingering, the loss of many prominent dubbing companies, and a string of poorly performing shows. However, since 2012, Anime has been enjoying a massive revival in the west, thanks to the revival of Toonami, the success of streaming services like Neon Alley and Crunchyroll, new dubbing companies like NIS America and Section23 Films rising to the fore, and a multitude of smash hits such as ''[[Anime/AttackOnTitan]]'', ''[[Anime/OnePunchMan]]'' ''Anime/AttackOnTitan'', ''Anime/OnePunchMan'' and [[Anime/JoJosBizzareAdventure]]''.''Manga/JoJosBizzareAdventure''.
7th Feb '16 5:49:50 PM WhatArtThee
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Heavily cut down the anime section's Wall of Text.
** Newer anime series, with [[Anime/PuellaMagiMadokaMagica a]] [[LightNovel/{{Durarara}} few]] [[Anime/TigerAndBunny notable]] [[Anime/PantyAndStockingWithGarterbelt exceptions]], have received lukewarm receptions thanks to (at least what some see as) an over-saturation of generic adaptations of Harem, {{Moe}}, or Romantic Comedy titles; while many Mecha series were relegated to OVA status, and the television format is heavily laden with [[VisualNovel/SteinsGate adaptations of]] [[LightNovel/FateZero established]] [[Manga/AttackOnTitan franchises]] (albeit generally good ones) and little to no original properties, though when they do crop up, they proved [[Anime/HanasakuIroha to]] [[Anime/AnoHanaTheFlowerWeSawThatDay be]] [[Anime/EdenOfTheEast well]] [[Anime/AngelBeats received]] [[Anime/TokyoMagnitude8 at]] [[Anime/GundamBuildFighters least]]. ** Some blame this on the increasing availability of anime on the internet, which exposes audiences to [[SturgeonsLaw more mediocre works]] in contrast to the [[ImportFilter relatively-filtered novelties]] of TheNineties, along with [[BiasSteamroller the apparent lack of reliable, professional critics' references]], [[AnimationAgeGhetto a result of inadequate and prejudiced public attention]] making the 10% of SturgeonsLaw in the medium almost indistinguishable to general audiences. Others blame the industry wide trend of [[PanderingToTheBase pandering more and more to the hardcore]] {{Otaku}} market at the expense of casual and foreign fans, along with [[WidgetSeries retaining traditional]] [[ValuesDissonance and at times controversial]] conventions (among other such factors) in contrast to other cultural works in the global marketplace. Whatever the reason, the effects of this [[DorkAge dork age]] has been felt on the Western anime industry, as Creator/BandaiEntertainment left the business, [[FourKidsEntertainment 4Kids]] entered into bankruptcy and sold off to Saban, and Creator/FUNimation and Creator/SentaiFilmworks suing each other over the restructuring of Creator/ADVFilms, threatening the existence of one or both companies. Fortunately, [[http://www.animenewsnetwork.com/news/2014-05-28/funimation-v-adv-lawsuit-settled-dismissed/.74853 the Funimation vs. Sentai lawsuit has been settled and dismissed]]. ** Perhaps the biggest anime asset that is affected during the New Tens is the [[NoDubForYou sharp decline of English dubbed anime for North American market]]. The collapse of three major players of the anime market (as well as the controversial statements by Creator/BangZoomEntertainment [=CEO'=]s Eric P. Sherman in regarding to anime dubs) had revived three of the old debates within the anime community: SubbingVersusDubbing, DigitalPiracyIsEvil, and Fansubbing. Despite the negative backlash from anime fans from all sides, English dubs are still being produced for the North American market. However, most of them are done in [[EverythingIsBigInTexas Houston and Dallas]] nowadays because Creator/SentaiFilmworks and Creator/FUNimation are able to produced English dubbed anime in a much lower budget, and the fact that Texas is a right-to-work state bypasses the need to deal with [[UsefulNotes/UnionsInHollywood union issues]]. Creator/BangZoomEntertainment still continues to produce dubs for Viz Media and Aniplex USA. However, rather than hiring big name union-only voice actors like Creator/SteveBlum and Creator/CrispinFreeman, they opt for non-union voice acting projects in their anime and avert the AllStarCast trope by hiring newer names. They even have open auditions every year at Anime Expo to find hopeful newer talents [[note]][[ItMakesSenseInContext All of this makes sense in perspective]] since two of their biggest clients, Bandai Entertainment and Geneon pulled out of the anime market; they really can't afford {{All Star Cast}}s and [[UsefulNotes/UnionsInHollywood union workers]] as much as they did in their earlier years[[/note]]. The revival of Creator/{{Toonami}} and the creation of Creator/NeonAlley has shown there is still a market for English dubs for a select few anime titles.
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** Newer anime series, The decade started out poor for anime, with [[Anime/PuellaMagiMadokaMagica a]] [[LightNovel/{{Durarara}} few]] [[Anime/TigerAndBunny notable]] [[Anime/PantyAndStockingWithGarterbelt exceptions]], have received lukewarm receptions thanks to (at least what some see as) an over-saturation of generic adaptations of Harem, {{Moe}}, or Romantic Comedy titles; while many Mecha series were relegated to OVA status, and the television format is heavily laden with [[VisualNovel/SteinsGate adaptations of]] [[LightNovel/FateZero established]] [[Manga/AttackOnTitan franchises]] (albeit generally good ones) and little to no original properties, though when they do crop up, they proved [[Anime/HanasakuIroha to]] [[Anime/AnoHanaTheFlowerWeSawThatDay be]] [[Anime/EdenOfTheEast well]] [[Anime/AngelBeats received]] [[Anime/TokyoMagnitude8 at]] [[Anime/GundamBuildFighters least]]. ** Some blame this on the increasing availability of anime on the internet, which exposes audiences to [[SturgeonsLaw more mediocre works]] in contrast to the [[ImportFilter relatively-filtered novelties]] of TheNineties, along with [[BiasSteamroller the apparent lack of reliable, professional critics' references]], [[AnimationAgeGhetto a result of inadequate and prejudiced public attention]] making the 10% of SturgeonsLaw in the medium almost indistinguishable to general audiences. Others blame the industry wide trend of [[PanderingToTheBase pandering more and more to the hardcore]] {{Otaku}} market at the expense of casual and foreign fans, along with [[WidgetSeries retaining traditional]] [[ValuesDissonance and at times controversial]] conventions (among other such factors) in contrast to other cultural works in the global marketplace. Whatever the reason, the effects of this [[DorkAge dork age]] has been felt on the Western anime industry, as Creator/BandaiEntertainment left the business, [[FourKidsEntertainment 4Kids]] entered into bankruptcy and sold off to Saban, and Creator/FUNimation and Creator/SentaiFilmworks suing each other over the restructuring of Creator/ADVFilms, threatening the existence of one or both companies. Fortunately, [[http://www.animenewsnetwork.com/news/2014-05-28/funimation-v-adv-lawsuit-settled-dismissed/.74853 the Funimation vs. Sentai lawsuit has been settled and dismissed]]. ** Perhaps the biggest anime asset that is affected during the New Tens is the [[NoDubForYou sharp decline of English dubbed anime for North American market]]. The collapse of three major players of the anime market (as well as the controversial statements by Creator/BangZoomEntertainment [=CEO'=]s Eric P. Sherman in regarding to anime dubs) had revived three of the old debates within the anime community: SubbingVersusDubbing, DigitalPiracyIsEvil, and Fansubbing. Despite the negative backlash from anime fans from all sides, English dubs are Toonami still being produced for lingering, the North American market. loss of many prominent dubbing companies, and a string of poorly performing shows. However, most of them are done in [[EverythingIsBigInTexas Houston and Dallas]] nowadays because Creator/SentaiFilmworks and Creator/FUNimation are able to produced English dubbed anime in a much lower budget, and the fact that Texas is a right-to-work state bypasses the need to deal with [[UsefulNotes/UnionsInHollywood union issues]]. Creator/BangZoomEntertainment still continues to produce dubs for Viz Media and Aniplex USA. However, rather than hiring big name union-only voice actors like Creator/SteveBlum and Creator/CrispinFreeman, they opt for non-union voice acting projects in their anime and avert the AllStarCast trope by hiring newer names. They even have open auditions every year at since 2012, Anime Expo has been enjoying a massive revival in the west, thanks to find hopeful newer talents [[note]][[ItMakesSenseInContext All the revival of this makes sense in perspective]] since two Toonami, the success of their biggest clients, Bandai Entertainment streaming services like Neon Alley and Geneon pulled out of Crunchyroll, new dubbing companies like NIS America and Section23 Films rising to the anime market; they really can't afford {{All Star Cast}}s fore, and [[UsefulNotes/UnionsInHollywood union workers]] a multitude of smash hits such as much as they did in their earlier years[[/note]]. ''[[Anime/AttackOnTitan]]'', ''[[Anime/OnePunchMan]]'' and [[Anime/JoJosBizzareAdventure]]''. ** The revival of Creator/{{Toonami}} deserves special mention. An anime and action cartoon block on Creator/CartoonNetwork whose efforts lead to the creation last anime boom, it eventually saw its end when the [[NetworkDecay CN Real]] [[DorkAge era]] became prominent[[note]]It could be said that the decline and fall of Creator/NeonAlley has shown Toonami was a major cause for the end of the last anime boom, as there is still a market was no viable platform for English dubs for a select few anime titles.of its scope that was able to replace it until itís eventual revival[[/note]]. But on AprilFoolsDay 2012, viewers tuned into Creator/AdultSwim expecting to see ''Film/TheRoom'' again - but instead saw the beloved anime block returning for one night - then after a huge Website/{{Twitter}} [[http://knowyourmeme.com/memes/events/bring-back-toonami campaign]] by anime fans, permanently on May 26. Out of the gate, it's done its part to help revive anime in the west, as it has cemented such hits as ''Manga/{{Bleach}}'', and ''Manga/{{Naruto}}'', and even turned ''Manga/DeadmanWonderland'' - a program that tanked badly in Japan[[note]]some saying as a result of the above mentioned moe/otaku pandering boom[[/note]] - into a hit with a bonafide fanbase. The block has even rescued shows that were [[ScrewedByTheNetwork screwed by the parent network]] such as the reboot of ''[[WesternAnimation/{{Thundercats 2011}} ThunderCats]]'' and ''WesternAnimation/SymBionicTitan'', though time will tell if either or both shows will eventually see continuation. And perhaps because of this success, they've even gotten the privilege of showing ''Anime/SpaceDandy'' at the same time it is being broadcasted in Japan.

** The same trends that has befallen the anime industry can also apply to Eastern video games (especially in regards to the {{JRPG}}), as the most recent offerings by Creator/SquareEnix, such as ''{{Mindjack}}'' and ''VideoGame/LordOfArcana'', failed to impress a Western gaming community that has written them off as DeaderThanDisco, and ''Franchise/FinalFantasy'' suffered its greatest failure to date with [[VideoGame/FinalFantasyXIV its fourteenth installment]]. While Idea Factory and [[Creator/NipponIchi NISAmerica]] have tried to pick up the slack, they weren't well-received, with the growing differences between Japanese and Western tastes in gaming often cited as an explanation. This is in addition to sites like Polygon and Kotaku publishing articles with an anti Japan bias, though these have mellowed down over time as other games were well-received. Still, this inadvertently had a chilling effect on games being brought over from Japan, not helped by Nintendo's decision to region lock the 3DS.
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** The same trends that has befallen the anime industry can also apply to Eastern video games (especially in regards to the {{JRPG}}), {{JRPG}}) have fallen deeply, as the most recent offerings by Creator/SquareEnix, such as ''{{Mindjack}}'' and ''VideoGame/LordOfArcana'', failed to impress a Western gaming community that has written them off as DeaderThanDisco, and ''Franchise/FinalFantasy'' suffered its greatest failure to date with [[VideoGame/FinalFantasyXIV its fourteenth installment]]. While Idea Factory and [[Creator/NipponIchi NISAmerica]] have tried to pick up the slack, they weren't well-received, with the growing differences between Japanese and Western tastes in gaming often cited as an explanation. This is in addition to sites like Polygon and Kotaku publishing articles with an anti Japan bias, though these have mellowed down over time as other games were well-received. Still, this inadvertently had a chilling effect on games being brought over from Japan, not helped by Nintendo's decision to region lock the 3DS. However, just like anime, Japanese video games have seen a return to the limelight due in part to the resurgence of the {{Fighting Game}} with titles like ''VideoGame/BlazBlue'', as well as the arrival of Nintendo's WiiU in 2012 and Sony's {{Playstation 4}} later in 2013. While the Wii U did poorly at first, it soon made it's mark with a string of strong hit games, and the PS4 has been doing even better.

* That all being said, there are some silver linings: Recovery and reconstruction efforts, following the earthquake and tsunami, led to an upsurge in local sales, including manga. Japanese video games in general have seen a return to the limelight due in part to the resurgence of the {{Fighting Game}} with titles like ''VideoGame/BlazBlue'', as well as the arrival of Nintendo's WiiU in 2012 and Sony's upcoming {{Playstation 4}} later in 2013. Anime retains warm receptions and popularity in Asia and Australia[[note]]In Australia, channels such as Creator/{{ABC3}} and [[Creator/NetworkTen Eleven]] are showing more anime than ever, from Manga/AstroBoy to Anime/PuellaMagiMadokaMagica[[/note]] that's helped in part by the industry rebounding considerably by 2011. And the Female FIFA 2011 victory, as well as the commendable gold medals earned in the 2012 Olympics and their successful bid to host the 2020 Olympics[[note]](which amusingly enough was predicted by ''Manga/{{Akira}}'')[[/note]] have proved to be sorely-needed morale boosters. * The revival of Creator/{{Toonami}} deserves special mention. An anime and action cartoon block on Creator/CartoonNetwork whose efforts lead to the last anime boom, it eventually saw its end when the [[NetworkDecay CN Real]] [[DorkAge era]] became prominent[[note]]It could be said that the decline and fall of Toonami was a major cause for the end of the last anime boom, as there was no viable platform for anime of its scope that was able to replace it until itís eventual revival[[/note]]. But on AprilFoolsDay 2012, viewers tuned into Creator/AdultSwim expecting to see ''Film/TheRoom'' again - but instead saw the beloved anime block returning for one night - then after a huge Website/{{Twitter}} [[http://knowyourmeme.com/memes/events/bring-back-toonami campaign]] by anime fans, permanently on May 26. Out of the gate, it's done its part to help revive anime in the west, as it has cemented such hits as ''Manga/{{Bleach}}'', and ''Manga/{{Naruto}}'', and even turned ''Manga/DeadmanWonderland'' - a program that tanked badly in Japan[[note]]some saying as a result of the above mentioned moe/otaku pandering boom[[/note]] - into a hit with a bonafide fanbase. The block has even rescued shows that were [[ScrewedByTheNetwork screwed by the parent network]] such as the reboot of ''[[WesternAnimation/{{Thundercats 2011}} ThunderCats]]'' and ''WesternAnimation/SymBionicTitan'', though time will tell if either or both shows will eventually see continuation. And perhaps because of this success, they've even gotten the privilege of showing ''Anime/SpaceDandy'' at the same time it is being broadcasted in Japan. Time will tell what the revived Toonamiís full potential will be, but considering what it did before and what it's doing now, it may well be the best hope for UsefulNotes/TheJapaneseInvasion to return to prominence.
7th Feb '16 5:37:22 PM WhatArtThee
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* Rock music in general, fell ''hard'' in mainstream popularity, even HeavyMetal became relegated to {{Hard Rock}}'s levels of popularity. Although it hasn't been doing as well commercially as it has in the past, various types of {{alternative rock}} have a thriving underground scene. While more "traditional" rock bands such as Music/LinkinPark, Music/{{Slipknot}}, Music/AvengedSevenfold, Music/{{Metallica}} and Music/VanHalen are capable of commercial success, it's seldom anything close to what they experienced at their peaks, and pop radio has all but abandoned them.\\
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* Rock Harder rock music in general, fell has fallen ''hard'' in mainstream popularity, even HeavyMetal became relegated to {{Hard Rock}}'s levels of popularity. Although it hasn't been doing as well commercially as it has in from the past, various types of {{alternative rock}} have a thriving underground scene. mainstream. While more "traditional" rock bands such as Music/LinkinPark, Music/{{Slipknot}}, Music/AvengedSevenfold, Music/{{Metallica}} and Music/VanHalen are capable of commercial success, it's seldom anything close to what they experienced at their peaks, and pop radio has all but abandoned them.them. Most of the popular bands now are in the LighterAndSofter "Indie Rock" genre, greatly influenced by beat music, folk and new wave: Music/TheBlackKeys, Music/ImagineDragons, Music/LanaDelRey, FlorenceAndTheMachine, BonIver, FosterThePeople, Mumford & Sons, Music/{{Adele}}, Music/{{Gotye}}, and Music/{{Fun}}, are representative, while Music/{{Coldplay}} and Music/{{Muse}} have maintained the popularity of AlternativeRock among the youth market with their similar takes.\\

Some of the only popular groups left are now the LighterAndSofter "Indie Rock" genre, greatly influenced by beat music, folk and new wave: Music/TheBlackKeys, Music/ImagineDragons, Music/LanaDelRey, FlorenceAndTheMachine, BonIver, FosterThePeople, Mumford & Sons, Music/{{Adele}}, Music/{{Gotye}}, and Music/{{Fun}}, are representative, but only the last three of these have scored at least one ''Billboard'' Hot 100 number one single, among them "We Are Young" being the first rock single in nearly three years to top the ''Billboard'' Hot 100 (the last being "Viva la Vida" by Music/{{Coldplay}}). Indie rock with electronic influences has seen growing popularity in this era, with ImagineDragons as a notable example while Music/{{Coldplay}} and Music/{{Muse}} have maintained the popularity of AlternativeRock among the youth market with their similar takes.\\ \\
5th Feb '16 12:07:45 PM LaptopGuy
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* Women's footwear in this decade had two extreme flavours: the ballerina-style flats, as well as high-heeled platform stilettos and boots continue to be popular, although not being as prominent as in the last years. However, the company started to make waves with other products during the decade, especially moccasins. Also making a fast rise is Toms Shoes, a slip-on shoe based on Argentine Espadrilles. It is notable for its "Buy One, Give One," campaign, in which impoverished children are given shoes for every pair bought.
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* Women's footwear in this decade had two extreme flavours: the ballerina-style flats, as well as high-heeled platform stilettos and boots continue to be popular, although not being as prominent as in the last years. However, While Ugg boots continued to be popular, the company started to make waves with other products during the decade, especially moccasins. Also making a fast rise is Toms Shoes, a slip-on shoe based on Argentine Espadrilles. It is notable for its "Buy One, Give One," campaign, in which impoverished children are given shoes for every pair bought. Although almost exclusively a women's shoe in the U.S., Toms are popular with both sexes elsewhere.
29th Jan '16 6:49:49 PM GrammarNavi
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* The revival of Creator/{{Toonami}} deserves special mention. An anime and action cartoon block on Creator/CartoonNetwork whose efforts lead to the last anime boom, it eventually saw its end when the [[NetworkDecay CN Real]] [[DorkAge era]] became prominent[[note]]It could be said that the decline and fall of Toonami was a major cause for the end of the last anime boom, as there was no viable platform for anime of its scope that was able to replace it until itís eventual revival[[/note]]. But on AprilFoolsDay 2012, viewers tuned into Creator/AdultSwim expecting to see ''Film/TheRoom'' again - but instead saw the beloved anime block returning for one night - then after a huge Website/{{Twitter}} [[http://knowyourmeme.com/memes/events/bring-back-toonami campaign]] by anime fans, permanently on May 26. Out of the gate, it's done its part to help revive anime in the west, as it has cemented such hits as ''Manga/{{Bleach}}'', and ''Manga/{{Naruto}}'', and even turned ''Manga/DeadmanWonderland'' - a program that tanked badly in Japan[[note]]some saying as a result of the above mentioned moe/otaku pandering boom[[/note]] - into a hit with a bonafide fanbase. The block has even rescued shows that were [[ScrewedByTheNetwork screwed by the parent network]] such as the reboot of ''[[WesternAnimation/{{Thundercats 2011}} ThunderCats]]'' and ''SymBionicTitan'', though time will tell if either or both shows will eventually see continuation. And perhaps because of this success, they've even gotten the privilege of showing ''Anime/SpaceDandy'' at the same time it is being broadcasted in Japan. Time will tell what the revived Toonamiís full potential will be, but considering what it did before and what it's doing now, it may well be the best hope for UsefulNotes/TheJapaneseInvasion to return to prominence.
to:
* The revival of Creator/{{Toonami}} deserves special mention. An anime and action cartoon block on Creator/CartoonNetwork whose efforts lead to the last anime boom, it eventually saw its end when the [[NetworkDecay CN Real]] [[DorkAge era]] became prominent[[note]]It could be said that the decline and fall of Toonami was a major cause for the end of the last anime boom, as there was no viable platform for anime of its scope that was able to replace it until itís eventual revival[[/note]]. But on AprilFoolsDay 2012, viewers tuned into Creator/AdultSwim expecting to see ''Film/TheRoom'' again - but instead saw the beloved anime block returning for one night - then after a huge Website/{{Twitter}} [[http://knowyourmeme.com/memes/events/bring-back-toonami campaign]] by anime fans, permanently on May 26. Out of the gate, it's done its part to help revive anime in the west, as it has cemented such hits as ''Manga/{{Bleach}}'', and ''Manga/{{Naruto}}'', and even turned ''Manga/DeadmanWonderland'' - a program that tanked badly in Japan[[note]]some saying as a result of the above mentioned moe/otaku pandering boom[[/note]] - into a hit with a bonafide fanbase. The block has even rescued shows that were [[ScrewedByTheNetwork screwed by the parent network]] such as the reboot of ''[[WesternAnimation/{{Thundercats 2011}} ThunderCats]]'' and ''SymBionicTitan'', ''WesternAnimation/SymBionicTitan'', though time will tell if either or both shows will eventually see continuation. And perhaps because of this success, they've even gotten the privilege of showing ''Anime/SpaceDandy'' at the same time it is being broadcasted in Japan. Time will tell what the revived Toonamiís full potential will be, but considering what it did before and what it's doing now, it may well be the best hope for UsefulNotes/TheJapaneseInvasion to return to prominence.
28th Jan '16 7:32:23 AM LaptopGuy
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* Towards the end of December 2015 and the first half of January 2016, the world was stunned by the deaths of English icons [[Music/{{Motorhead}} Lemmy Kilmeister]], Music/DavidBowie, and Creator/AlanRickman, all of whom had died from cancer and were pushing 70 (Lemmy and Bowie had ''just'' turned 70 and 69, respectively, days before they died).
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* Towards the end of December 2015 and the first half of January 2016, the world was stunned by the deaths of English icons [[Music/{{Motorhead}} Lemmy Kilmeister]], Lemmy]], Music/DavidBowie, and Creator/AlanRickman, all of whom had died from cancer and were pushing 70 (Lemmy and Bowie had ''just'' turned 70 and 69, respectively, days before they died).died). On the other side of the pond, two more musical greats, namely [[Music/StoneTemplePilots Scott Weiland]] and [[Music/{{Eagles}} Glenn Frey]], passed away.
28th Jan '16 3:08:42 AM jormis29
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Pixar is not Disney
* {{Pixar}}, which dominated the previous decade, has continued to churn out box-office hits but has found its prestige slipping since the ToughActToFollow of ''WesternAnimation/ToyStory3'', with ''Cars 2'' getting a poor critical reception, and ''WesternAnimation/{{Brave}}'' got mixed notices and underperformed at the box office. ''WesternAnimation/MonstersUniversity'' did do well with critics, though audiences were divided on it. After not releasing films in 2014, ''Disney/InsideOut'', the studio's first 2015 release received an standing ovation at ''Cannes'' and became a surprise hit, competing with ''Film/JurassicWorld'' on even terms.
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* {{Pixar}}, Creator/{{Pixar}}, which dominated the previous decade, has continued to churn out box-office hits but has found its prestige slipping since the ToughActToFollow of ''WesternAnimation/ToyStory3'', with ''Cars 2'' getting a poor critical reception, and ''WesternAnimation/{{Brave}}'' got mixed notices and underperformed at the box office. ''WesternAnimation/MonstersUniversity'' did do well with critics, though audiences were divided on it. After not releasing films in 2014, ''Disney/InsideOut'', ''WesternAnimation/InsideOut'', the studio's first 2015 release received an standing ovation at ''Cannes'' and became a surprise hit, competing with ''Film/JurassicWorld'' on even terms.
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