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5[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/dandareashcan_copy_7.png]]
6[[caption-width-right:350:The humble, but legally sufficient, debut of Dan Dare.[[note]]An American detective character from the 1940s, not the [[ComicStrip/DanDare British space explorer]] of the same name.[[/note]]]]
7
8A cheaply and quickly produced work, not intended to be shown to the masses and disseminated only to the minimum extent required to fulfill some non-artistic obligation like claiming a trademark.
9
10The term originated in MediaNotes/TheGoldenAgeOfComicBooks, when there was a big rush to copyright as many characters and titles as possible, but the production time available was measured in days or hours, far too short to put out a real comic. The solution? Create a simple mock comic, often just a cover and some unrelated filler made up of garbage sheets, and submit it to the copyright office. The term itself comes from the fact that these comics often weren't actually distributed to newsstands, just going straight to the ashcan (period vernacular for trashcan) once their purpose had been served.
11
12Starting in MediaNotes/TheDarkAgeOfComicBooks, an "ashcan" copy of a comic, often black and white and limited in distribution, would sometimes be distributed as a promotional item. These comics were called "ashcans" for marketing reasons (i.e. to imply rarity and value like the Golden Age versions) but really had little to do with [[MediaNotes/TheGoldenAgeOfComicBooks Golden Age]] ashcans.
13
14In the wider culture, "ashcan copy" has stuck around to describe any crappy proof-of-sort-of-concept work that exists solely because of the strange intricacies of trademark and licensing law -- especially in the US, where television or movie adaptation contracts often have a "use it or lose it" expiration date by which a license must be exercised to prevent reversion to the original rights holder.
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16While the Ashcan Copy originated in comics, many contemporary cases involve movie concepts optioned from other media, as such contracts usually include reversion clauses and film development is a notoriously [[DevelopmentHell lengthy and troubled process]]. A similar practice exists in television programming, where [[FridayNightDeathSlot episodes of cancelled series are "burned off" in graveyard time slots]].
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18If, by chance, these works ever actually ''do'' see distribution, expect them to become infamous. See also FranchiseZombie for other examples of shameless IP exploitation. Compare with ContractualObligationProject; a situation where a work must be completed because it is mandated as opposed to being done to prevent an outcome.
19----
20!!Examples:
21
22[[foldercontrol]]
23
24[[folder:Anime & Manga]]
25* Saban Brands dubbed ''Anime/SmilePrecure'' and ''Anime/DokiDokiPrecure'' as ''Glitter Force'' and ''Glitter Force Doki Doki'' because they were in the same package that gave the company the rights to ''Anime/DigimonFusion''.
26* Creator/FourKidsEntertainment's infamous ''Manga/OnePiece'' dub only exists because it was licensed as part of the same package that gave them the rights to ''Anime/OjamajoDoremi'', and Creator/ToeiAnimation ''forced'' [=4Kids=] to dub the show under penalty of losing the ''Doremi'' license. Ultimately, both shows suffered under 4Kids and in a cruel twist of fate, while ''One Piece'' would find an audience in the west years later, ''Doremi'' never did.
27* After the marketing team for ''Anime/RoyalSpaceForceTheWingsOfHonneamise'' decided to hold the "official' premiere at the Chinese Theater in Hollywood rather than in Japan to drum up more hype, they quickly commissioned a [[{{Macekre}} heavily edited]] English dub named ''Star Quest'' so that the film could be played to Hollywood journalists and insiders without subtitles (allegedly, the localization was done not by a professional translator, but by someone who had previously written for ''WesternAnimation/MyLittlePonyAndFriends''). It vanished without a trace after said premiere and was superseded by Creator/MangaEntertainment's dub, and wouldn't be seen again until a copy was uploaded to the Internet Archive in 2023.
28[[/folder]]
29
30[[folder:Comic Books]]
31* One of the best-known examples in comics is ''Flash Comics'', which was actually the title of two different ashcans from different companies seeking claim to the title. Creator/DCComics' ''Flash Comics'' combined cover art from ''Adventure Comics'' #41 with pages from ''All-American Comics'' #8; Fawcett's ''Flash Comics'' (also printed under the title ''Thrill Comics'') featured the origin of Captain Thunder, who made his first regular appearance as [[ComicBook/{{Shazam}} Captain Marvel]] in ''Whiz Comics'' #2 (''Whiz Comics'' #1 was itself an ashcan copy).
32* Creator/DCComics' ''Action Funnies'' ashcan contained pages from ''Detective Comics'' #10 and cover art that would later appear in color on ''Action Comics'' #3.
33* Fawcett's ''5-Cent Comics'' and ''Nickel Comics'' ashcans (black-and-white, no cover art) marked the respective debuts of Dan Dare and Scoop Smith, both of whom subsequently appeared in ''Whiz Comics''. ''Nickel Comics'' became a regular series, but without Scoop Smith.
34* ''Eerie'' #1 was a hastily assembled digest of horror comics with a print run of a few hundred copies, created by publisher James Warren to deny the title to rival publishers Myron Fass and Robert W. Farrell, whose company was named Eerie Publications.
35* Following the "DC Implosion" (where DC Comics cancelled a whole bunch of titles all at once in 1978) they "published" ''Cancelled Comic Cavalcade'', two 250-page editions of the cancelled comics just to secure copyright on the stories that had already been written & drawn. Only 35 copies were made, though black-and-white photocopies of the originals exist. The reprint was notable for being the first "appearance" of [[Franchise/JusticeLeagueOfAmerica JLA]] member Comicbook/{{Vixen}}.
36* After DC sued Fawcett regarding how close [[ComicBook/{{Shazam}} Captain Marvel]] was to their own Franchise/{{Superman}}, Marvel noticed that the superhero's name was legally up for grabs and created their own ComicBook/{{Captain Marvel|MarvelComics}} (given the company name, they couldn't be blamed). Then DC bought Fawcett and incorporated the now-rebranded ''Shazam'' into their universe. To avoid the trademark falling into disuse and becoming available to their biggest competitors, Marvel has had to publish at least one ''Captain Marvel'' title every year or two since, leading to a number of ongoing series, limited series and one-shots featuring a range of characters using the Captain Marvel alias (the original Mar-Vell, many of his sons and clones, and the current incarnation who used to go by ComicBook/MsMarvel).
37* ComicBook/SheHulk and ComicBook/SpiderWoman were born from an ashcan copy. After witnessing the success [[Creator/AmericanBroadcastingCompany ABC]] had with ''Series/BionicWoman'', a spinoff of ''Series/TheSixMillionDollarMan'' that starred a DistaffCounterpart to Steve Austin, Marvel took a look at their contract for the upcoming ''[[Series/TheIncredibleHulk1977 Incredible Hulk]]'' TV series and realized there was nothing stopping Creator/{{CBS}} from creating a female version of ComicBook/TheIncredibleHulk that they would own the rights to. Although Creator/StanLee normally opposed such spinoff characters, he made an exception for She-Hulk in order to secure the rights to such a character for Marvel. Spider-Woman was likewise created to preempt Creator/{{Filmation}}'s attempted to create a Spider-Woman character for ''Tarzan and the Super 7'', forcing them to rename the character Web Woman.
38[[/folder]]
39
40[[folder:Films -- Animation]]
41* The 1966 adaptation of ''Literature/TheHobbit''. Producer Bill Snyder bought the film rights from Creator/JRRTolkien on the cheap, planning an animated feature with Creator/GeneDeitch's assistance. However, it was a low-priority project for his studio, and never entered serious production. Just before the rights were set to lapse, though, the popularity of Tolkien's ''Literature/TheLordOfTheRings'' books skyrocketed. Realizing he could make a tidy return on his investment, Snyder set out to extend the rights long enough to negotiate a resale. However, his film had to be finished and released for that to happen. With the contract set to expire in one month, he convinced Deitch to hastily produce a 12-minute condensed version using still drawings, which was then screened in a single Manhattan theater on the day the contract would expire. With its conditions fulfilled in the narrowest possible sense, the contract was duly extended and Snyder sold the rights for $100,000 (in 1960s money). The film finally resurfaced in 2012 when Snyder's son [[https://www.youtube.com/watch?v=UBnVL1Y2src uploaded it on YouTube]].
42* ''The Lord of the Rings: The War of the Rohirrim'': Creator/NewLineCinema and Creator/WarnerBros haven't owned the live-action film rights to produce any more Tolkien adaptations since the ''[[Film/TheLordOfTheRings Lord of the Rings]]'' and ''[[Film/TheHobbit Hobbit]]'' trilogies, so this animated film (which is in continuity with the Creator/PeterJackson films) is a move to ensure that Creator/{{Amazon}} (who produced the megabudget series ''Series/TheLordOfTheRingsTheRingsOfPower'', which is unrelated to the films) wouldn't be the only creators of major Tolkien-based content in the near future.
43* The main reason for releasing ''WesternAnimation/TomAndJerryWillyWonkaAndTheChocolateFactory'' was that Warner Bros.' license would have expired if they didn't release a new movie adaptation of ''Literature/CharlieAndTheChocolateFactory''. It went so poorly that the Creator/RoaldDahl estate [[SelfFulfillingProphecy revoked the license]] from Warner Bros. and gave it to Creator/{{Netflix}}. However, Warner was still able to greenlight a prequel entitled ''Film/{{Wonka}}''.
44[[/folder]]
45
46[[folder:Films -- Live-Action]]
47* Marvel has had huge success with their own movie adaptations of their superhero characters, including the sprawling, interconnected Franchise/MarvelCinematicUniverse. However, three of Marvel's most popular properties -- ComicBook/SpiderMan, the ComicBook/FantasticFour, and the ComicBook/XMen -- were conspicuous by their absence in the MCU. This was because Marvel sold the movie rights to their best-known characters during a period of financial troubles in the late 1990s. In the 2000s, however, Marvel began experimenting with in-house movie production and was rewarded with several smash hits. Since then, Marvel has been very interested in permanently reclaiming properties that could be added to the MCU, and its licensees resorted to ashcanning productions in order to retain their movie rights:
48** The 1994 ''Film/TheFantasticFour'' movie is the truest to the spirit of the trope, being ashcan fodder extraordinaire. German studio Constantin Film acquired the rights in 1986 and was about to lose them forever, so they made the film [[NoBudget cheap]], hired famed BMovie schlock-meister Creator/RogerCorman as producer, and it never got a wide release. It exists only in bootleg copies, some of which have made their way [[https://m.youtube.com/watch?v=eN0FoR_FlZg online]]. In 2004, Constantin teamed up with Creator/TwentiethCenturyFox and finally filmed [[Film/FantasticFour2005 a movie]] that saw release the following year.
49** The 2015 movie, infamously dubbed ''[[Film/FantasticFour2015 Fant4stic]]'', was rushed out to prevent the property rights from reverting to Marvel. The rushed schedule led to a TroubledProduction and director Josh Trank's CreatorBreakdown. The final result was a significant BoxOfficeBomb and one of the worst-reviewed comic book movies ever made. Ironically, in 2019 Disney bought out most of Creator/TwentiethCenturyFox's assets, including the cinematic rights to the Fantastic Four - so Fox's attempts to keep the rights out of Marvel's hands were ''at best'' AllForNothing.
50** A fourth movie in the ''Film/SpiderManTrilogy'' was in the works, but once pre-production woes hit the project - Sam Raimi stated he could not meet the scheduled release date and retain creative integrity - Creator/SonyPictures decided in 2010 to just reboot the series to keep Spidey away from Marvel Studios (which was about to release ''Film/IronMan2'' and had many others in production). ''Film/TheAmazingSpiderMan'' hit theaters in 2012 and was mostly received well, but [[Film/TheAmazingSpiderMan2 its less-beloved sequel]] ultimately killed Sony's plans to make a rival cinematic universe based on just the Spider-Man side of Marvel. Instead, they struck a deal with Marvel Studios to let them use the character in films starting with ''Film/CaptainAmericaCivilWar'', and for both studios to collaborate on his solo movies (although Sony went ahead with [[Film/SonysSpiderManUniverse movies based on Spidey's villains]]).
51* ''Film/HellraiserRevelations'' was quickly whipped together, with a mere 11 days of filming and about three weeks of post-production, specifically so Creator/TheWeinsteinCompany could hold onto the rights to the ''Franchise/{{Hellraiser}}'' franchise long enough to get a planned remake off the ground. The result is widely regarded as the worst film in a franchise that has seen its fair share of bad sequels, to the point where Creator/CliveBarker (who wrote and directed the original film) [[https://twitter.com/RealCliveBarker/status/105189711416524800 publicly]] [[DisownedAdaptation disowned it]] and Creator/DougBradley (who played Pinhead in every film prior) refused to take part. In the end, it was AllForNothing, as the Weinstein Company collapsed under the weight of Harvey Weinstein's sexual assault scandals before the remake could be put into production. In 2020, the rights reverted back to Barker, who was credited as a producer when [[Film/Hellraiser2022 the remake]] (by Creator/SpyglassMediaGroup) was finally released in 2022.
52* ''Film/ChildrenOfTheCornGenesis'' was also rushed together by the Weinstein Company for the same reasons, and ended up about the same way.
53* ''Film/TheBourneLegacy'': Creator/MattDamon, in [[http://screenrant.com/matt-damon-interviews-jason-bourne-promised-land/ an interview]] with Screen Rant, stated that the film was made entirely because Creator/{{Universal}}'s contract with the Creator/RobertLudlum estate would have expired in 2012 if they didn't make another Bourne film, yet Damon was busy and couldn't reprise the leading role. Universal decided to cast Creator/JeremyRenner as a new character, Aaron Cross, and make the movie [[InNameOnly without the title character]]. They did eventually make another ''Bourne'' movie with Damon, titled simply ''Film/JasonBourne''.
54* ''Film/DudleyDoRight'' and ''Film/TheAdventuresOfRockyAndBullwinkle'' were supposedly made in part because Universal wanted to get the films out of DevelopmentHell quickly so they could keep the film rights for the ''WesternAnimation/RockyAndBullwinkle'' franchise. Both movies bombed at the box office, leaving Universal no other option but to give up the rights.
55* A film based on the ''ComicBook/{{Vampirella}}'' comics had been in DevelopmentHell for decades under different companies. Creator/RogerCorman's company had acquired the rights from the previous property owners at some point, but ultimately only made [[Film/{{Vampirella}} the 1996 film]] because they only had six months left before the license expired, requiring them to rush ''something'' out. After an incredibly TroubledProduction, the final result was a [[QuestionableCasting miscast]], critically panned film that the director Jim Wynorski later [[CreatorBacklash regretted ever making]].
56* ''My Name Is Modesty'', a low-budget 2004 thriller featuring a young ComicStrip/ModestyBlaise, was made so the production company could hold on to the film rights long enough to get things moving on a proper ''Modesty Blaise'' film. (As of this writing, they still haven't.) It was released direct to DVD, and for something made so quickly and cheaply it actually isn't terrible.
57* Before Fox released the 2015 version of ''Fantastic Four'', ''Film/DragonballEvolution'' was seen as their biggest ashcan copy. The main reason for the film's quality was that Fox pushed it out the door just because the rights were expiring. Although many fans of [[Manga/DragonBall the source material]] who have seen the film can name off a list of inconsistencies with the source material, critics slammed it for being more akin to a trashy ClicheStorm teen drama on Creator/TheCW than an action/adventure story.
58* The little-known fourth ''Film/{{Porkys}}'' film, ''Pimpin' Pee Wee'', was produced on a very hurried schedule in 2009, purely to derail a remake of the first film that Creator/HowardStern was attempting to mount.
59* ''Day of the Dead 2: Contagium'' apparently started out as an unrelated zombie script that got [[DolledUpInstallment hastily turned into]] a ([[InNameOnly nominal]]) prequel to ''Film/DayOfTheDead1985'', just so the producers could hold onto the rights long enough to release [[Film/DayOfTheDead2008 the planned theatrical remake]]. 2018's ''Day of the Dead: Bloodline'' released just under ten years after the previous remake, and like ''Contagium'' has nothing in common with the 1985 original outside of dealing with a ZombieApocalypse.
60* ''Film/PetSematary2019'' turned out to have been put into production because, [[https://www.hollywoodreporter.com/thr-esq/real-life-terminator-major-studios-face-sweeping-loss-iconic-80s-film-franchise-rights-1244737 under US copyright law]][[note]]In the late '70s, US copyright law was amended to let writers reclaim the copyright to any work they had sold the rights to after 35 years[[/note]], Creator/StephenKing would soon be able to reclaim the film rights to his novel ''Literature/PetSematary'', and what's more, he had been aggressive about reclaiming the rights to his other books once the time came. Creator/{{Paramount}}, therefore, wanted to wring something out of the rights while they still had them.
61* The film adaptation of ''Literature/AtlasShrugged''. After spending decades in DevelopmentHell as various attempts to make either a movie or a miniseries out of Creator/AynRand's novel (some of them with [[SelfAdaptation Rand's involvement]]) flopped, millionaire investor John Aglialoro bought an 18-year option on it and pitched it to various studios throughout the '90s and '00s. With his options set to expire, Aglialoro sunk much of his personal fortune into financing the first installment, expecting a bigger budget for the next films. It didn't work out how he'd hoped; the first film was a BoxOfficeBomb and the second and third films getting reduced budgets and limited releases as a result.
62[[/folder]]
63
64[[folder:Live-Action TV]]
65* Parodied in ''Series/ArrestedDevelopment'', where a fictional version of the [='90s=] ''Fantastic Four'' movie is stated to be one of several movies made by Imagine Entertainment ([[SelfDeprecation the studio that makes the show]]): Ron Howard is told by a drunk lawyer at the company Christmas party that Imagine's ''Fantastic Four'' license would expire unless a film was made within the next six days. They immediately cast the film with the bartenders from the party, then hired the same bartenders to work the film's wrap party five days later.
66* Red Eagle Entertainment rushed out an adaptation of ''Literature/TheWheelOfTime'' in the form of a 22-minute "pilot" called ''Winter Dragon'', which follows the prologue of ''Eye of the World'', but with a twist ending. It stars Billy Zane as a surprisingly decent [[AffablyEvil Mephistophelian]] Ishamael and Max Ryan as a soft, homey Lews Therin, who looks nothing like the leader of the free world. They keep talking and name-dropping, LT keeps calling his wife, then Ishy cures his insanity, shows that LT's home palace really is dark and run-down, that his entire family is murdered, then offers a [[DealWithTheDevil deal with Shai'tan]]. Instead of killing himself by creating a volcano like in the book, LT saves on special effects and switches his insanity back on to stay with his family. [[https://twitter.com/Sedavision According to the director,]] filming began on [[ChristmasRushed January 20th and post-production was completed on February 4th]]. It aired less than a week later at 1:30 AM on [[Creator/{{Fox}} FXX]]. The TV rights to the ''Wheel of Time'' series were set to revert from Red Eagle Entertainment (which has held them since the mid-2000s) to the Bandersnatch Group (owned by the Robert Jordan estate) on February 11th. Needless to say, [[http://www.tor.com/blogs/2015/02/wheel-of-time-pilot-harriet-statement Jordan's widow was not pleased.]] Lawsuits were threatened against Red Eagle, and when the dust finally settled, Harriet was able to get the rights back and turned to Creator/AmazonPrime, which produced an [[Series/TheWheelOfTime2021 actual series]] based on the novels. ''Winter Dragon'' is available on [=YouTube=], both the [[https://www.youtube.com/watch?v=hUQE0-G_GeU original version]] and the fan-edited, 10-minute-long [[https://www.youtube.com/watch?v=4lyWn9soBU8 Dusty Wheel Cut]].
67* Creator/WarnerBros produced a TV pilot called ''Black Bart'' based on ''Film/BlazingSaddles'' just to retain the sequel rights to that film. Creator/MelBrooks explained that he opposed the studio's desire for sequels and included a clause in his contract that all sequel and spin-off rights would revert to him unless Warner Bros. made a movie or TV show based on the film within six months of theatrical release. Brooks knew the studio couldn't produce a second movie in that time frame, and that network television would never be able to get a TV show based on ''Blazing Saddles'' past the censors. However, Warner Bros. realized there was a loophole in the contract: to retain the rights, they only had to ''make'' a spin-off -- there was no requirement to actually ''air'' it. So the studio secretly produced a pilot with CBS (a 24-minute synopsis of the movie with Louis Gossett Jr. as Bart and language the network would never allow on air) and aired it once, late at night, to qualify it as a TV production. Several years later, they asked Brooks to make a sequel, and when he refused on the grounds that they no longer held the rights, the execs brought Brooks onto the CBS lot and screened the pilot for him to prove their point -- although the sequel project died on its own merits some time later. The ''Black Bart'' pilot only saw the light of day again as a bonus feature on the ''Blazing Saddles'' DVD.
68* In 2010, Creator/TurnerClassicMovies quietly aired [[http://www.tcm.com/this-month/article.html?id=484547%7C488308 a bizarre special]] where Leonard Matlin interviewed Creator/WarrenBeatty in-character as ComicStrip/DickTracy. This special was made solely so that Beatty could extend his rights to make a second ''Film/DickTracy'' film. A second special would air in 2023, with Beatty again portraying Dick as well as himself, with [[ActingForTwo Dick actively complaining to Beatty about the film and the modern film industry]].
69* Creator/GeneRoddenberry wrote a [[https://open.spotify.com/track/4Kz6JGnhwVtoV1IwbNWAt8 set of lyrics]] to the ''Series/StarTrekTheOriginalSeries'' ThemeTune [[ForgottenThemeTuneLyrics that he never intended to actually use on the show]] just so he could get half the song's royalties.
70[[/folder]]
71
72[[folder:Music]]
73* The [[ContractualObligationProject "contractual obligation album"]]. When an artist wants out of their contract but is required to produce a certain number of albums first, they will often dump the ragtag recordings that didn't make the cut for their other albums (B-sides, demos, live performances, and assorted unreleased content) into a CD case and push it out the door. The appropriately-titled ''AudioPlay/MontyPythonsContractualObligationAlbum'' is a typical example. Sometimes, the artist doesn't even care enough to release previously-unheard material and will simply compile a GreatestHitsAlbum.
74* Music/TheBeachBoys final studio album on Capitol, the aptly named ''Music/TwentyTwenty'' (ostensibly named that because this was their 20th album overall, counting live albums and {{Greatest Hits Album}}s, to fulfil their 20-album contract with Capitol), which was filled with covers, throwaway tracks, and recycled material from previous albums (mostly from the ill-fated ''[[Music/SmileTheBeachBoys SMiLE]]''). The band was reportedly saving their best material from the era for their Reprise Records debut, ''Music/{{Sunflower}}''.
75* Music/BobDylan's ''[[MeaningfulName The Copyright Extension Collection]]'' was an official 4-CDR release by Creator/SonyMusicEntertainment of many unreleased sessions and alternate takes from the early 60s. Much of this music had remained unreleased simply because it wasn't commercially viable, but the copyright laws in effect when it was made would open it to the public domain unless the studio publicly exercised its copyright within 50 years. The studio didn't want to draw much attention to this calculated business decision, so they released the album as a limited edition of 100 copies in a handful of European markets with minimal promotion. The set became immensely popular and copies sell for high prices - the music has never been re-released. Ironically, its limited availability and official status have encouraged far more downloading than if it had passed into the public domain unnoticed.
76** Creator/CapitolRecords responded to a similar copyright crisis by continually releasing rarities compilations from Music/TheBeachBoys, including several [[KeepCirculatingTheTapes rare fan-favorites]] that [[Administrivia/TropesAreTools may never have seen the light of day otherwise]].
77* Music/TheHumanLeague's 1981 single "Boys and Girls", the debut release of their "Mk. II" incarnation (though simultaneously the last song in their Mk. I iteration's DarkWave style), was desperately rushed through production to begin clearing their heavy debts to Creator/VirginRecords. As an indicator of this, neither Joanne Catherall nor Susan Ann Sulley (then new to the band's lineup) appear on the song despite appearing on the single's cover, thanks to them still being in school at the time.
78* Due to a contract dispute, Music/{{Heart|Band}}'s original label, Mushroom Records, released the album ''Magazine'' without Heart's involvement in 1977. The band obtained an injunction and were able to re-record and remix it after the court found that they owed Mushroom a second album in 1978.
79* In 1979, Music/TheAlanParsonsProject were nearing the end of their first contract with Arista Records when they came up with ''The Sicilian Defence'', a hastily recorded collection of sound scraps meant to fulfill the contract so the band could focus on negotiating a new one without worrying about splitting time and attention between negotiations and music-making. The name, taken from a series of opening moves in chess, is apt, given the album was conceived as a "chess move" against Arista by band manager and songwriter Eric Woolfson. While never intended for public consumption, ''The Sicilian Defence'' finally received an official release as part of ''The Complete Albums Collection'' in 2014.
80* Music/LouReed's ''Music/MetalMachineMusic'', a double album consisting of Lou Reed playing droning/squealing guitar feedback in GratuitousPanning for over 60, joyless minutes, is ''usually'' seen as an attempt to get around a restrictive contract at RCA that required Reed to release two more albums before he could get out of it. It is said that recording contracts ever since have contained a "''Metal Machine Music'' Clause" which states the albums an artist releases under the contract must sound 'like themselves'.
81[[/folder]]
82
83[[folder:Pinballs]]
84* After 5 years, the sponsors of the Pinball/MagicGirl pinball machine started to wonder what they'd get for their money, and even considered a lawsuit against the creator, given the last they'd seen of the machine was a barely playable prototype at an expo in 2015. To stave off the lawsuit, in 2017, they all received... manufactured copies of the same prototype, with all the same faults, and some additional bugs introduced by expensive parts being missing.
85[[/folder]]
86
87[[folder:Theatre]]
88* ''Theatre/HMSPinafore'' was a huge hit for Creator/GilbertAndSullivan in their native Britain, but when they attempted to mount a production in the United States, they found that audiences were already familiar with unauthorized productions that had been "pirated" from performances seen in England. Their next musical, somewhat inspired by the experience, was ''Theatre/ThePiratesOfPenzance''. This time they premiered the show in America, but they still needed a British premiere for copyright back home, and couldn't rehearse two casts at once. The solution? Just before the Broadway opening, they had a (no doubt bewildered) touring company of ''Pinafore'' throw together a "British premiere" of ''Pirates'', with one day's rehearsal, at an obscure theatre in an English seaside town.
89[[/folder]]
90
91[[folder:Video Games]]
92* UsefulNotes/{{Japan}} once had a law prohibiting arcade cabinets from being distributed without games. Manufacturers obliged by providing very simple games good for little more than testing the monitors and controls. Creator/{{Sega}}'s ''VideoGame/DottoriKun'' and Creator/{{Taito}}'s ''[[VideoGame/SpaceInvaders Minivader]]'' are typical examples, featuring primitive black-and-white graphics and no sound. Konami's ''[[WhackAMonster Mogura Desse]]'' is a slightly more sophisticated example; it has color and sound to go with its highly simplistic gameplay.
93* In 2007, Creator/{{Atari}} commissioned a simple MediaNotes/AdobeFlash game, produced in just four days, to maintain their trademark on ''VideoGame/StarControl''.
94* ''VideoGame/TonyHawksProSkater 5'' has been [[http://www.hardcoregamer.com/2015/10/02/wait-is-tony-hawks-pro-skater-5-an-ashcan-copy/170093/ called]] an Ashcan Copy, as it was released in [[ObviousBeta a unfinished state]] with numerous {{game breaking bug}}s. Professional skateboarder Tony Hawk's long-term contract with Creator/{{Activision}}, signed in 2002, was set to expire at the end of 2015, so Activision allegedly rushed the game out the door in September of that year as one last cash-grab (and possibly to generate enough renewed interest to put a new deal on the table). Unsurprisingly, the game was poorly-received.
95* The Spectrum version of ''[[VideoGame/{{Sqij}} SQIJ!]]'' was hastily slapped together [[ContractualObligationProject to fulfill the creator's contract with his publisher, The Power House, even though he had no real interest in working for them]]. The game ended being up badly-received by reviewers, and, on top of negative press, it was later discovered that it had shipped with a GameBreakingBug caused by accidentally activating the Caps Lock key on start-up.
96* The ''Series/StreetHawk'' game made for the British home computer gaming market encountered this trope during its development. Ocean Software had sold a gaming magazine the rights to bundle the game with a particular issue, but development stalled and they were in danger of missing the deadline and having to give the mag their money back, so an ''entirely different game'' was hastily thrown together to meet the letter of the contract. The stand-in game ended up being poorly-received, and the proper ''Street Hawk'' game didn't fare much better with reviewers when it came out a year and a half later.
97* When ''VideoGame/DeadByDaylight'' announced in 2021 that it would release non-fungible tokens ([=NFTs=]) based on ''Franchise/{{Hellraiser}}'' to tie in with a recent DLC pack featuring Pinhead, many fans of the game were outraged and saw it as a cash grab. Some immediately [[https://www.reddit.com/r/deadbydaylight/comments/qau23j/hellraiser_nft_situation_who_is_behind_it_all/ speculated]] that the release of the [=NFTs=] was largely due to the rights to the ''Hellraiser'' franchise being set to revert back to Creator/CliveBarker in December of that year; the rights holders created the [=NFTs=] as one final attempt to get some money out of the property.
98* ''VideoGame/{{Popeye}}'' received a cheap (alleged) remake for the Platform/NintendoSwitch in 2021 to retain the rights to the character. It's cobbled together in the most slapdash way possible from a [[https://assetstore.unity.com/packages/3d/environments/historic/polygon-pirates-low-poly-3d-art-by-synty-92579 low-poly pirate-themed asset pack]] and some [[https://www.turbosquid.com/Search/Artists/3dmpro free Popeye models from TurboSquid]]. Development studio Sabec was so aware of how low-quality it was they didn't even bother to put their name on the title screen or box cover.
99* ''VideoGame/CrashTeamRacing'': Creator/NaughtyDog only had a three-game contract with Creator/{{Universal}} regarding the ''VideoGame/CrashBandicoot'' IP, meaning that ''CTR'' was made with very little funding on Universal's end. Couple this with poor work conditions due to the contract being over and the deadline for the game's development being less than a year, and Naughty Dog created ''CTR'' as their last hurrah before they lost the rights to ''Crash Bandicoot'' (including them attempting to TorchTheFranchiseAndRun using Nitros Oxide). Despite all of these setbacks, the final product turned out to be an [[Administrivia/TropesAreTools incredibly polished game]] that was one of the Platform/PlayStation's best-sellers.
100* ''VideoGame/CallOfDutyModernWarfareIII'' is suspected by many to be a case of this. In the midst of its development, series publisher Activision was acquired by Microsoft. However, they had an existing contract with Sony for priority in marketing ''VideoGame/CallOfDuty'' games that was, rather than for a certain number of years as is the usual, instead set for a certain number of games released, presumably because the series releases one game a year anyway. Before ''MWIII'' was announced, it was heavily rumored that 2023's entry would have just been an extra year of support for ''[[VideoGame/CallOfDutyModernWarfareII Modern Warfare II]]''; between the rushed development of this game (most ''Call of Duty'' games since Sledgehammer Games entered the mix in 2011 have had three-year development cycles, but they were only given two years to work on ''MWIII'') and how heavily the game links with its predecessor (most everything players could buy or unlock in ''Modern Warfare II'', from weapons and their attachments to operators and vehicle skins, carries over to and is available in ''MWIII''), many strongly suspect that the work put into a second year of support for ''MWII'' [[MissionPackSequel was hastily repurposed into a full game]] to exhaust the contract and return full marketing control to the publisher's new owners more quickly.
101* ''VideoGame/DreamWorksSuperStarKartz'' can be seen as a last-ditch effort on Activision's part to profit off their Creator/DreamWorksAnimation licenses before they expired. The game itself is very low-budget and features a lot of reused assets from other [=DreamWorks=] titles, has a small roster and track selection with three characters and tracks being alternate variants of other characters/tracks in the game, the soundtrack consists entirely of public-domain stock music, and the engine and mechanics are reused from a cancelled ''VideoGame/CrashTeamRacing'' reboot. It would notably be the final [=DreamWorks=] game published by Activision, as all following titles were handled by other publishers.
102* ''VideoGame/UltimaEscapeFromMtDrash''. Only tangentially related to the [[VideoGame/{{Ultima}} legendary RPG franchise]] (Richard Garriott was a friend of its creator, Keith Zabalaoui, and gave permission for the name to be used in order to help him leverage a publishing deal with Sierra), it was developed in 1983 for the VIC-20 - a computer whose much more capable successor (the Commodore 64) was already out. This, plus it requiring the VIC's tape drive and 8KB RAM expansion addons to run, ensured Sierra had no faith in its success; they ran exactly one advertisement for it in Compute! magazine, reused artwork from the back of Ultima II's box for the cover, and printed only the bare-minimum number of copies needed to fulfill their contract. Sure enough it sold very poorly and now ranks among the rarest commercially-released video games of all time, with around thirteen copies in various states of completeness known to still exist. In a coincidental parallel to [[VideoGame/ETTheExtraTerrestrial another infamous release from that time period]], at least one surviving copy was salvaged from an illegal garbage dump in Canada years later.
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106* This trope is the first point on ''Website/{{Cracked}}'' writer David Christopher Bell's list of [[https://www.cracked.com/blog/6-reasons-why-every-damn-movie-sequel-nowadays/ "6 Brilliant Explanations for Why Modern Movies Are So Stupid"]], describing it as "a juggling act of rushed sequels". He mentions several movies made solely to retain franchise rights, including ''Fantastic Four'', ''Dick Tracy'', ''Bourne Legacy'', and ''Hellraiser: Revelations''.
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