| 1 | %% Image moved to this page per Image Pickin' thread: https://tvtropes.org/pmwiki/posts.php?discussion=1605032301087532800 |
| 2 | %% Please do not replace or remove without starting a new thread. |
| 3 | %% |
| 4 | [[quoteright:350:[[WesternAnimation/{{Futurama}} https://static.tvtropes.org/pmwiki/pub/images/futurama_title_ep0418.jpg]]]] |
| 5 | [[caption-width-right:350:'''''"AVENGE US!"'''''[[note]]'''''"[[UnCanceled AVENGED!]]"'''''[[/note]]]] |
| 6 | %% |
| 7 | ->'''Meatwad:''' Won't you ask that TV if he minds showing me some ''WesternAnimation/{{Futurama}}''? I like me some ''Futurama''.\ |
| 8 | '''Master Shake:''' Well now we're too damn cheap to receive it, so go the hell over to [[Creator/ComedyCentral Carl Central]] and watch it to your heart's content!\ |
| 9 | '''Meatwad:''' Carl gets ''Futurama''?\ |
| 10 | '''Master Shake:''' He didn't even want it until we started watching it! |
| 11 | -->-- ''WesternAnimation/AquaTeenHungerForce'', "[[http://www.adultswim.com/video/?episodeID=8a25c39218e52ef60118e79454b3000d Bible Fruit]]" [[note]]Amusingly enough, ''Futurama'' ended up going ''back'' to Adult Swim in late 2021.[[/note]] |
| 12 | |
| 13 | Television shows are usually not directly owned by a particular channel, although once they have a contract to air the show they often have some creative control of it. The only exception is first-run syndicated shows that are owned entirely by the production company and distributed to individual stations, regardless of their network affiliation. At other times a show might be owned and produced by a specific network but the rights to air it were bought out by another network. It's a complicated business where all that matters sometimes is [[MoneyDearBoy the bottom line]]. |
| 14 | |
| 15 | Just like sports teams, there are many reasons for a show to switch from one place to another. |
| 16 | * Contract Buy-Outs: The show is exceptionally popular and when a contract expires two or more channels bid for new seasons. |
| 17 | * VindicatedByHistory: The UsefulNotes/{{ratings}} weren't high enough on one channel so they [[{{Cancellation}} didn't renew]] it for a new season. Another channel [[UnCanceled grabbed the show up]] (sometimes after a move to reruns in UsefulNotes/{{syndication}}) and it moved over. |
| 18 | ** And just like the trope, it may be poorly performing on one channel while on another channel it skyrockets in popularity. Of course, a [[UsefulNotes/{{Ratings}} 3.5 rating]] on ABC is cancel-worthy; a 3.5 rating on USA is cause for celebration. |
| 19 | * Behind-the-Scenes Politics: Waning interest in the show and a network makes [[MoneyDearBoy a great offer]], sometimes a package deal with a selection of other shows. |
| 20 | * Vertical Integration: Certain shows are saved only because their production companies happen to be under common ownership with another network. Shows produced by an in-house company can be sold to other networks for their airtime, thus the hop is more of a "coming home." |
| 21 | |
| 22 | Note that this only counts ''new'' episodes; else, the sheer number of places they've shown ''WesternAnimation/LooneyTunes'' reruns would make the page overflow. Channels calling episodes "premieres" when they know full well that they originally aired somewhere else are telling you BlatantLies — slightly more honest ones might use the WeaselWords "network premiere". |
| 23 | |
| 24 | See also FranchiseOwnershipAcquisition for a related concept, which in some cases results in a Channel Hop. |
| 25 | ---- |
| 26 | !!Example subpages: |
| 27 | [[index]] |
| 28 | * ChannelHop/COVID19PandemicRelatedExamples |
| 29 | * ChannelHop/{{Film}} |
| 30 | * ChannelHop/{{Television}} |
| 31 | ** ChannelHop/ProductionCompanyExamples |
| 32 | [[/index]] |
| 33 | |
| 34 | !!Other: |
| 35 | |
| 36 | [[foldercontrol]] |
| 37 | |
| 38 | [[folder:Anime & Manga Examples]] |
| 39 | * ''Manga/ChainsawMan'': Part 1, covering the first 97 chapters, was serialized in ''Weekly Magazine/ShonenJump'' between 2018 and 2020 before going on hiatus. Upon its return in 2022, Part 2 began serialization in the online sister magazine ''Shonen Jump+'', through which Creator/TatsukiFujimoto had published most of [[Manga/FirePunch his]] [[Manga/LookBack other]] [[Manga/GoodbyeEri works]]. |
| 40 | * ''Manga/JoJosBizarreAdventure'': For over sixteen years, the series was published in Weekly Magazine/ShonenJump for Parts 1-6. From ''[[Manga/JoJosBizarreAdventureSteelBallRun Steel Ball Run]]'' onwards, the series was moved to the monthly seinen magazine Ultra Jump, which would become the new home for JJBA. |
| 41 | * In Canada ''Anime/PokemonTheSeries'' originally aired on YTV starting in 1998 and stayed there until 2014. When Corus Entertainment got full ownership of Teletoon that year, the show moved to that channel where it stayed since. For the French version of the show, it originally aired on the French Teletoon, but Pokemon: Master Quest aired on another channel, TQS, instead. After they dropped the show, it wouldn't get a French dub again until X and Y, where it returned to the French Teletoon and has stayed there since. It should be noted that YTV still occasionally airs the show for special events. |
| 42 | * ''Anime/HelloSandybell'': |
| 43 | ** In Albania, it aired on Bang Bang and then Çufo. |
| 44 | ** Bulgaria it aired on btv, Disney Channel and then Disney+. |
| 45 | ** In Croatia, it aired on ''seven'' different channels - RTL Kockica, Tropik TV, Mini TV, HRT 2, Nova TV, RTL Play and Voyo. |
| 46 | ** In the Czech Republic, it aired on Prima, Prima Max, Nova Fun, Fox Kids and Disney+. |
| 47 | ** In Denmark, Disney Channel, Fox Kids and Disney+. |
| 48 | ** In Estonia, the anime first aired on ETV, and then [=TV3=]. |
| 49 | ** In Germany, ''Hello! Sandybell'' aired on six different channels - [=ProSieben=], Super RTL, SRF 2, Disney Channel, ORF 1 and Disney+. |
| 50 | ** In Hong Kong, it aired on Disney Channel, [=TVB=] Jade, [=TVB=] Pearl and Disney+. |
| 51 | ** In Indonesia, ''Hello! Sandybell'' aired on four different channels - Disney Channel, [=RCTI=], Spacetoon and Disney+ Hotstar. |
| 52 | ** In Israel, ''Hello! Sandybell'' also aired on four different channels - Channel 1, Arutz [=HaYeladim=], [=yesVOD=] and Disney+. |
| 53 | ** In Malaysia, the anime first aired on [=TV9=], and then Disney+ Hotstar. |
| 54 | ** In the Netherlands, it aired on Yorin, NPO Zappelin, Ketnet and Disney+. |
| 55 | ** In the Philippines, the anime first aired on the GMA Network and then TV-5. |
| 56 | ** In Poland, it aired on TVP1, TV Puls, Puls 2 and Disney+. |
| 57 | ** In Portugal, it aired on Rede Globo, [=SBT=], TV Cultura, TV Brasil and Disney+. |
| 58 | ** In Romania, it aired on Disney Channel, [=TVR1=], [=ProTV=] and Disney+. |
| 59 | ** In Russia, it aired on Kanal Disney, Disney Channel, Vosmoy Kanal, Kinopoisk and Disney+. |
| 60 | ** In Thailand, it aired on Disney Channel, RAMA and Disney+ Hotstar. |
| 61 | [[/folder]] |
| 62 | |
| 63 | [[folder:TV Personality Examples]] |
| 64 | * Brazilian TV legend Xuxa switched from Rede Globo to Rede Record in 2015. The Channel Hop didn't stop Globo-owned Som Livre from releasing the next ''Xuxa Só Para Baixinhos'' album, however. |
| 65 | * A variant of sorts occurred with the international ''Series/SesameStreet'' Muppet character Sivan. She started off in 2009 with the Israeli co-production ''Rechov Sumsum'', but in 2014 the character was transferred to the Brazilian co-production ''Vila Sésamo''. |
| 66 | [[/folder]] |
| 67 | |
| 68 | [[folder:Comic Book Examples]] |
| 69 | * Many companies were bought by Creator/DCComics: |
| 70 | ** ComicBook/BlueBeetle, ComicBook/CaptainAtom, ComicBook/{{Judomaster}}, ComicBook/{{Peacemaker}} and ComicBook/TheQuestion all started off at Creator/CharltonComics, but were bought out by DC Comics and brought into the official [[Franchise/TheDCU DCU]] during ''ComicBook/CrisisOnInfiniteEarths''. ComicBook/PeterCannonThunderbolt was also briefly published by DC but is currently published by Dynamite Entertainment (as the rights to the character returned to the estate of his deceased creator). |
| 71 | ** ComicBook/{{Shazam}} (formerly [[IAmNotShazam Captain Marvel]]), ComicBook/BlackAdam, and the Marvel Family were originally owned by Creator/FawcettComics but ended up being bought out by DC after a massive lawsuit. They (as well as Fawcett's other heroes) are currently part of the DCU. |
| 72 | ** ComicBook/PlasticMan and ComicBook/{{Blackhawk}} were originally owned by Quality Comics, but like the above examples, were bought out by DC and integrated into their universe. A number of other Quality properties like the Ray, Phantom Lady, Black Condor, and Uncle Sam were later published together as the ComicBook/{{Freedom Fighters|DCComics}}. |
| 73 | ** The Creator/MilestoneComics heroes (the most famous among them being ComicBook/{{Static}}) were originally part of a creator-owned imprint published by DC, but separate from the Franchise/DCUniverse. Later, they were licensed by DC, becoming part of the DCU proper. Later still, they were established as having their own universe in the DC multiverse, again under their own imprint. |
| 74 | ** The characters of Creator/{{Wildstorm}} (publisher of ''Comicbook/TheAuthority'', ''Comicbook/{{Stormwatch}}'', ''{{ComicBook/Gen 13}}'', and ''Comicbook/WildCATSWildStorm'') started off as a sub-studio at Image, before being bought by DC Comics. The characters existed on their own until the events of ''Comicbook/{{Flashpoint}}'' and the ComicBook/{{New 52}}, where they were brought over into the rebooted DC canon. |
| 75 | * Creator/ArchieComics had a line of superheroes in the GoldenAge, collectively known as the Red Circle. DC briefly licensed the rights from Archie and integrated them into the DCU, but poor sales resulted in the rights going back to Archie. Archie now publishes the Red Circle heroes once again, treating their DC adventures as CanonDiscontinuity in the process. |
| 76 | * ComicBook/{{Miracleman}} ([[IHaveManyNames formerly Marvelman]]) is a famously complicated example. He started off in the '50s at L. Miller & Son before being revived by Quality Communications in the '80s. He was then licensed out to Eclipse Comics, before ''that'' publisher folded (as had Quality), and floated around in limbo for years. Todd [=McFarlane=] tried to bring the character into the Creator/ImageComics universe, but legal issues prevented this from happening. Creator/MarvelComics supposedly has the rights as of now, and have reprinted some of Miracleman's original 50's stories, but it is unclear whether or not they have rights to the Quality and Eclipse material (which featured legendary work from Creator/AlanMoore and Creator/NeilGaiman). |
| 77 | ** Marvel has started reprinting the Alan Moore stories, although the writer is now credited to "The Original Writer". |
| 78 | * ComicBook/AmazingMan was originally published by Centaur, but after lapsing into the Public Domain, he has appeared in stories published by Malibu and Dynamite Entertainment (such as ''ComicBook/ProjectSuperpowers''). He's also appeared in the Marvel Universe (in ''ComicBook/ImmortalIronFist'', ''ComicBook/SecretAvengers'', and ''ComicBook/TheDefenders'', but is called the Prince of Orphans due to copyright reasons. |
| 79 | * Creator/RobLiefeld's ''ComicBook/YoungbloodImageComics'' originated at Creator/ImageComics, but Liefeld eventually left the studio and brought them over to his own publishing house, Awesome Comics (where they were {{ReTool}}ed by Creator/AlanMoore). After Awesome folded, the characters (and Liefeld) returned to Image. Same goes for Glory, Liefeld's CaptainErsatz of Franchise/WonderWoman. |
| 80 | * [[Characters/GuardiansOfTheGalaxyModern Mantis]] is a truly bizarre example. She originated at Creator/MarvelComics as a member of Comicbook/TheAvengers, but after being written out of the series, was briefly published by DC Comics under the name "Willow", and later by Eclipse Comics under the name "Lorelei". She finally returned to the Franchise/MarvelUniverse a few years later and is currently part of the ''Comicbook/GuardiansOfTheGalaxy'' franchise. |
| 81 | * ''Comicbook/TheNewYorkFour'' started off as part of Creator/DCComics' Minx Line, but the sequel, ''The New York Five'', was published by Creator/VertigoComics. |
| 82 | * Creator/PeterDavid's ''Comicbook/{{Fallen Angel|2003}}'' started off at DC (in fact, the heroine, Lee, was heavily implied to be [[Comicbook/{{Supergirl}} Linda Danvers]] under an assumed name), but was later picked up by Creator/IDWPublishing. |
| 83 | * Speaking of Wildstorm, ''Comicbook/TheBoys'' started there. But it only lasted for six issues because DC were uneasy with the anti-superhero tone, and they cut a deal to make the title fully owned by author Creator/GarthEnnis, who then continued it on Dynamite Entertainment. |
| 84 | * Creator/NeilGaiman's Angela was originally created for the ''Comicbook/{{Spawn}}'' series at Creator/ImageComics. After a massive legal battle that spanned ''years'', Gaiman regained creative control of the character and brought her over to Creator/MarvelComics. She entered the Franchise/MarvelUniverse at the close of the ''Comicbook/AgeOfUltron'' CrisisCrossover. |
| 85 | * It is very common for comics based on an external license to change publishers, with the new publishers often reprinting the material commissioned from a previous publisher. |
| 86 | * The short-lived ComicBook/DarkwingDuck comic book was originally published by [[Creator/KaboomComics Boom Studios]], but a new publisher known as Joe Books not only had all issues of the comic (with the exception of the last two) revised by original editor Aaron Sparrow and collected in an omnibus called Darkwing Duck: The Definitively Dangerous Edition, which was released in early 2015, but will also start publishing a new Darkwing Duck series. |
| 87 | * Between 1979 and 1995, ''Doctor Who Magazine'' was published by the UK branch of Creator/MarvelComics. As a result, its long-running ''Series/DoctorWho'' comic strip often intersected with the Franchise/MarvelUniverse, including crossovers with Death's Head and Captain Britain and even a brief intersection with the Fantastic Four and other mainstream Marvel heroes. Around 1989, a second ''Doctor Who'' comic strip was published for about a year in the UK magazine ''The Incredible Hulk Presents''. In 1995, the publishing rights for DWM were sold to Italian-based Panini (which continues to publish the magazine as of 2016), and the Marvel connections ended. |
| 88 | * ''ComicBok/{{Scarlett}}'' was originally published by DC Comics, but is now owned by Monsterverse. |
| 89 | * ''ComicBook/Ramayan3392AD'' was originally published by Virgin Comics, but has since been relocated to Graphic India. |
| 90 | * ''ComicBook/{{Madman}}'' was for a long time published by Creator/DarkHorseComics. Later, the series moved to Creator/OniPress (under Creator/MikeAllred's Atomic Comics label), before moving again to Image. |
| 91 | * The ''Franchise/{{Transformers}}'' comics have changed hands twice. |
| 92 | ** ''ComicBook/TheTransformersMarvel'' and its successor ''ComicBook/TransformersGeneration2'' were originally published by Creator/MarvelComics from 1984 to 1994, with trade paperbacks released by Titan Books in 2001. In 2002, a young and relatively unknown Canadian comic studio called Dreamwave Productions (originally formed as part of Creator/ImageComics) obtained the license to make new Transformers comics, with their flagship title ''ComicBook/TransformersGenerationOne'' (a reboot not connected to Marvel's comics) accompanied by adaptations of the then-new ''Anime/TransformersArmada'' and ''Anime/TransformersEnergon'' toylines. |
| 93 | ** Dreamwave collapsed in 2005 due to management issues and the license was picked up by Creator/IDWPublishing later that year, with a new series and a new continuity launching shortly after. IDW has since printed a number of Transformers series in their continuity, a sequel series set in the original Marvel continuity titled ''Transformers: Regeneration One'', and reprints of the Marvel and Dreamwave stories. However, IDW's initial Marvel reprints omitted issues (or sometimes just individual pages) featuring characters Marvel owns, such as Spider-Man and Circuit Breaker[[note]]in spite of being created for the Transformers comic, Marvel made it so that she'd make an appearance in ''ComicBook/SecretWarsII'' prior to her proper debut just to keep the rights to the character out of Hasbro's hands.[[/note]], as they were unable to negotiate the fees to use these characters. The earlier reprints by Titan included everything because Marvel went a lot easier on them, though IDW eventually was able to work a deal with Marvel and reprinted the Marvel comics a second time with the issues featuring Spider-Man and Circuit Breaker intact. |
| 94 | * The ''Series/{{Angel}}: After The Fall'' (IDW Publishing) comic book series: After having crossed over with the ''Buffy'' (Creator/DarkHorseComics) comics, Angel's story is now being continued in Dark Horse's spinoff of ''ComicBook/BuffyTheVampireSlayer Season 9'', ''Angel and Faith''. |
| 95 | * The comic book adaptation of ''WesternAnimation/MuppetBabies1984'' was a mild example, with the first 17 issues published by Star Comics and the remaining 9 published by Star Comics' parent company Creator/MarvelComics. |
| 96 | * The majority of ''ComicBook/TheMuppetShowComicBook'' and all five of the ''ComicBook/MuppetClassics'' miniseries were originally published by Creator/BoomStudios. After Boom lost the license, the last intended arc of ''The Muppet Show Comic Book'', titled ''Four Seasons'', was published by Creator/MarvelComics. |
| 97 | * The Brazilian comic ''ComicBook/MonicasGang'' and its associated titles have gone through three different publishers. The comics were originally published by Abril starting in 1970 until Globo took over publishing duties in 1987, with Panini being the current publisher as of 2007. |
| 98 | * As with ''Franchise/{{Transformers}}'', the comic book license to ''Franchise/GIJoe'' has changed a few times. |
| 99 | ** Creator/MarvelComics published the first comic ''ComicBook/GIJoeARealAmericanHeroMarvel'' as well as the spinoff series ''G.I. Joe: Special Missions'', the four-issue miniseries ''G.I. Joe: Order of Battle'' and the annual publication ''G.I. Joe Yearbook''. |
| 100 | ** Creator/DarkHorseComics published a short-lived comic book tie-in to ''WesternAnimation/GIJoeExtreme''. |
| 101 | ** Devil's Due Publishing eventually acquired the comic book license and made [[ComicBook/GIJoeDevilsDue a continuation of the Marvel Comics continuity]] that was initially published by Creator/ImageComics before Devil's Due seceded and published the comic themselves. They also published a comic for ''WesternAnimation/GIJoeSigma6'' and an UltimateUniverse take titled ''ComicBook/GIJoeReloaded''. |
| 102 | ** Creator/IDWPublishing picked up the license after the end of Devil's Due Publishing's tenure and released [[ComicBook/GIJoeIDW a comic set in its own continuity]] as well as [[ComicBook/GIJoeARealAmericanHeroIDW a continuation of the Marvel Comics continuity]] that [[CanonDiscontinuity ignored the events of the Devil's Due series]]. |
| 103 | * Creator/ArchieComics held the license for ''Franchise/SonicTheHedgehog'' for 24 years. After the cancellation of ''ComicBook/SonicTheHedgehogArchieComics'' and the end of their partnership with Creator/{{Sega}} in 2017, Creator/IDWPublishing was quickly given the ''Sonic'' license, and started ''ComicBook/SonicTheHedgehogIDW'', set in a new continuity, the following year. |
| 104 | * ''WesternAnimation/LittleAudrey'' started with St. John Publications in 1948 before moving to Harvey in 1952. |
| 105 | * ''ComicBook/DeadAt17'' was originally published by Viper Comics, but the franchise has since moved to Creator/ImageComics. |
| 106 | * The Parker Brothers electronic toy ROM the Space Knight received a comic book tie-in by Creator/MarvelComics titled ''ComicBook/RomSpaceKnight'', which notably outlasted the original toy and has since written out the title character after Marvel lost the license. Decades later, Hasbro would acquire the rights to ROM and Creator/IDWPublishing would publish [[ComicBook/RomIDW a new comic series]] that was divorced from the Marvel Comics version and was part of the ComicBook/HasbroComicUniverse. |
| 107 | * The comic book tie-in to Mego's Micronauts toyline changed publishers as the toys themselves changed ownership. Mego originally licensed the IP to Marvel, who published a ''ComicBook/{{Micronauts|MarvelComics}}'' comic book that was famous for crossing over with Marvel's other titles and running long after the original toyline went defunct.[[note]]Marvel retained the rights to characters that were created explicitly for the ''Micronauts'' comic after the rights expired, but could only reuse the characters under new team name the Microns.[[/note]] In 2002, Creator/ImageComics was given the license to produce [[ComicBook/MicronautsImage a short-lived comic book series]] when they obtained the license from then-rights holder Abrams Gentile Entertainment. After the rights to ''Micronauts'' ultimately ended up in the hands of Hasbro and they gave the license to IDW Publishing as they did with most of their other properties, [[ComicBook/MicronautsIDW yet another comic]] was published, which, like IDW's take on ''ROM'', was part of the Hasbro Comic Universe. |
| 108 | * The publishing rights for ''Franchise/StarWars'' comics has jumped back and forth between publishers over the decades. |
| 109 | ** The comic rights originally belonged to Creator/MarvelComics from 1977 to 1987, having a [[ComicBook/StarWarsMarvel1977 singular comic series]]. |
| 110 | ** Creator/DarkHorseComics published ''Star Wars'' comics from 1991 to 2014. After Creator/{{Disney}} purchased the rights to the franchise, their publishing license would end with ''ComicBook/DarthMaulSonOfDathomir'' (and due to being adapted from unreleased scripts of storylines from ''[[WesternAnimation/StarWarsTheCloneWars The Clone Wars]]'', originally their only comic to not be under the ''[[Franchise/StarWarsLegends Legends]]'' umbrella) |
| 111 | ** With Disney's purchase of the franchise, publishing rights returned to Marvel (also owned by Disney) starting in 2015. In 2017, Disney Lucasfilm also licensed IDW Publishing to produce an anthology comic aimed at younger readers, ''ComicBook/StarWarsAdventures''. |
| 112 | ** In 2022, IDW's license expired, with Dark Horse Comics returning to publish ''Star Wars'' comics alongside Marvel. They also picked up the publishing rights to IDW's ''[[ComicBook/StarWarsTheHighRepublicAdventures The High Republic Adventures]]'', making it the only part of the ''Star Wars Adventures'' line to continue past its parent series. |
| 113 | * The ''ComicStrip/DennisTheMenaceUS'' comic book ran from 1953 until 1982 under several different publishers. The series started with Standard Comics. Standard folded in 1956, although the comic did continue for another two years under the Pines Comics label. Fawcett Comics then took over the rights and published ''Dennis'' until 1980. During this time, reprints were published by Haliden and CBS Publishing. Hank Ketcham then sold the rights to Creator/MarvelComics for a short-lived run in the early 80s. ''Dennis'' was also adapted as ''Dennis and the Bible Kids'' in 1977, published by Word Books, Inc. (now [=HarperCollins=]). |
| 114 | [[/folder]] |
| 115 | |
| 116 | [[folder:Literature Examples]] |
| 117 | * When news emerged of Harvey Weinstein's sexual harassment, the Hachette Book Group immediately shuttered the [[Creator/TheWeinsteinCompany Weinstein Books]] publisher and transferred its authors to the main Hachette publisher. |
| 118 | * When Brazilian publisher Cosac Naify went out of business in 2015, Companhia das Letras acquired the publishing rights to ''Literature/CaptainUnderpants'' and re-released the original translations. |
| 119 | * The ''Literature/HarryPotter'' series was originally distributed in Canada by Raincoast Books. In 2010, the series was re-released by Penguin because of Bloomsbury's new distribution deal. |
| 120 | ** However, ''Harry Potter and the Cursed Child'' was published by Scholastic (the series' US distributor) in Canada and Little Brown in the UK. |
| 121 | * ''Literature/FamilySkeletonMysteries'': The first three books were released by the Berkley publishing company under their "Berkley Prime Crime" imprint before the author switched publishers to Diversion Books for #4 and on. |
| 122 | * Creator/EzraJackKeats had several publishers throughout his life: Viking, Harper & Row, Macmillan, Greenwillow, and Four Winds Press. Beginning in the 1990s, Keats' book rights reverted to his estate and were republished by Viking. |
| 123 | * The ''Literature/RottenRalph'' books changed publishers multiple times. The first eight books were published by Houghton Mifflin, the next five by Harper Collins, the next four by Farrar, Straus and Giroux, the next book by Houghton Mifflin again and the last two books by Farrar, Straus and Giroux once more. |
| 124 | [[/folder]] |
| 125 | |
| 126 | [[folder:Music Examples]] |
| 127 | * In 2013, right after acquiring Creator/ParlophoneRecords from Universal through Creator/{{EMI}}, Creator/WarnerMusicGroup agreed to divest part of its combined catalogue to independent labels: |
| 128 | ** Music/{{Radiohead}} had already moved to Creator/XLRecordings in 2007, and their Parlophone-era backlog was given to the label in turn. Because, Believe, Concord, Cherry Red, Woah Dad, the newly independent Creator/ChrysalisRecords, RT Industries, and New State Music each acquired at least 10 former Warner/Parlophone artists. Some artists who went independent had their catalogues acquired by the labels they are currently signed to (in addition to Radiohead above, Hot Chip and Porcupine Tree’s major label catalogues went to Domino and Kscope, respectively). Because acquired nearly all of London Records (although the output of several London artists, notably Joy Division, New Order, All Saints, and White Dove, stayed with Warner). |
| 129 | ** Perhaps the biggest divestment went to Tommy Boy Records, an influential label during MediaNotes/TheGoldenAgeOfHipHop and the rise of HouseMusic that had a long semi-independent partnership with Warner in its heyday, but became independent in 2002. It reacquired nearly all of its catalog it had left with Warner after the split. Most notably, Music/DeLaSoul's catalogue would finally hit streaming services... that is, until De La Soul made it known to their fans that [[ScrewedByTheNetwork Tommy Boy would get the vast majority of royalties from streaming]], which led to legal problems between the two parties. In August 2021, Tommy Boy was sold to Reservoir Media, and De La Soul announced that their albums would soon be re-released thanks to re-negotiations with Reservoir. In March 2023, this finally came to fruition. |
| 130 | * Music/MichaelJackson released his first solo albums on Motown, the same label to which Music/TheJacksonFive were signed. For his fifth, ''Music/OffTheWall'', he went for Creator/EpicRecords instead. The rest is history (to the point that [[SequelDisplacement some think that was his solo debut]]). This may have had something to do with Music/TheJacksonFive / The Jacksons ''themselves'' jumping ship to Epic Records in 1975 after leaving Motown. |
| 131 | * Music/{{Aerosmith}} started their career on Creator/ColumbiaRecords. As their career started to dwindle on the early 80s, the label dropped them, so when they started PuttingTheBandBackTogether, they signed with Creator/GeffenRecords. The CareerResurrection that followed was enough for Columbia to sign them back in 1996. Beginning in 2022, Aerosmith's entire catalogue will be re-released by Creator/UniversalMusicGroup, which owns Geffen. |
| 132 | * The Music/RedHotChiliPeppers were first signed to Creator/EMIAmericaRecords, but it was mostly fruitless -- only their last album there, ''Mother's Milk'', caused impact. So afterwards came a bidding war, a deal with Creator/WarnerBrosRecords and ''Blood Sugar Sex Magik'', and they became superstars. |
| 133 | * Music/VanHalen were signed to Creator/WarnerBrosRecords for all their career, but for their comeback album ''A Different Kind of Truth'' in 2012, they signed with Interscope instead. |
| 134 | * Music/{{Nirvana}} were originally signed to Creator/SubPop, but when the label fell into financial hardship in 1990, the band left out of fear that they'd get bought out by a bigger label prone to ExecutiveMeddling. At the recommendation of Music/SonicYouth's Kim Gordon, they moved over to DGC Records, an imprint of Creator/GeffenRecords that had signed Sonic Youth earlier that year. |
| 135 | * When Music/DaveGrohl decided to form the Music/FooFighters and release his [[IAmTheBand playing all instruments]] record as the SelfTitledAlbum, he signed to Capitol as he knew their president from his Music/{{Nirvana}} days. So when said executive left after the Foos did their second album in 97, Grohl left Capitol, and only signed to RCA when the home-made third album was done. |
| 136 | * The musical projects of [[Music/NineInchNails Trent Reznor]] are an interesting case. After he left major label Interscope in 2007, he set up his own independent label, The Null Corporation, to release new material (such as ''Ghosts I-IV'', ''The Slip'' and his and Atticus Ross' Oscar-winning soundtrack to ''Film/TheSocialNetwork''). At the time, this label went through RED Distribution, a distribution channel owned by Sony Music. After the success of Null's releases, Reznor's musical project Music/HowToDestroyAngels would end up signing with Sony subsidiary Creator/ColumbiaRecords, and he would do the same with Music/NineInchNails for its comeback album ''Hesitation Marks'' (in the US; it was released by Polydor in the rest of the world). Reznor would later sign a new distribution deal for The Null Corporation with Capitol (in the US and Canada) and Caroline International (worldwide) starting with ''Not The Actual Events.'' |
| 137 | * Music/DepecheMode: |
| 138 | ** The band signed to Creator/MuteRecords in 1980 and got licensed to Creator/SireRecords for North America. When Mute was bought by EMI in 2002, the band's deal with Sire remained in place until 2009, when they moved to Virgin and Capitol (two other EMI subsidiaries) to release ''Sounds of the Universe.'' In 2012, however, they left EMI altogether for Creator/ColumbiaRecords worldwide, but the logo for Mute still appears on their debut Columbia album ''Delta Machine''. |
| 139 | ** When Mute's catalogue was acquired by BMG Rights Management, the label was licensed to [=INgrooves=] and PIAS (and later Warner Music; which still holds the American license to the pre-2009 Depeche Mode catalogue). However, Depeche Mode's catalogue was instead licensed to Creator/SonyMusicEntertainment (the owner of Columbia). |
| 140 | * Music/{{Queen|Band}}: |
| 141 | ** ''Greatest Flix'' underwent this before release due to the controversial Warner Home Video Rental Drive of '81, being released by Picture Music International through Thorn EMI Video (whose parent company, EMI, distributed their records in the UK), instead of by WEA (who distributed them in the USA) as was originally planned. |
| 142 | ** In the UK, Queen were originally signed to Creator/{{EMI}} until 1989, when they moved to the Creator/ParlophoneRecords sublabel. Parlophone would inherit the band's catalog outside of North America until 2011, when the band and their catalog moved over to Creator/IslandRecords under a more lucrative contract. After EMI dissolved in 2012, its assets were divided between Creator/WarnerMusicGroup and Creator/UniversalMusicGroup, Island's parent company; Universal would subsequently put out "new" releases through [[Creator/VirginRecords Virgin EMI Records]]. In 2020, Virgin EMI was rebranded as a revival of EMI, thus putting Queen's music back where it first started. |
| 143 | ** In the US and Canada, Queen signed to Creator/ElektraRecords and WEA and released their music under those labels until 1984's ''The Works'', when they moved to Creator/CapitolRecords (an EMI subsidiary), taking the rights to their backlog with them, as a result of the Warner Home Video Rental Drive and Elektra's wariness towards the {{disco}} sound on ''Music/HotSpace''. That deal would go on until 1990, when the band signed a new deal with Disney's Creator/HollywoodRecords (which just so happened to be distributed by Elektra until 1995, when Polygram, and later Universal, took over), taking their back catalog with them. Now, Universal distributes Queen's music worldwide. These deals also encompass Queen members' solo output; perhaps most amusingly, Freddie's solo work has been rereleased by none other than Creator/MercuryRecords. |
| 144 | * Music/LimpBizkit left their longtime label Interscope in 2012 and signed on to Birdman's Cash Money Records. Ultimately, the deal was short-lived and the band released their comeback album ''Still Sucks'' on Suretone Records. |
| 145 | * Music/TheBeatles were originally singed to Creator/ParlophoneRecords in the UK and Creator/CapitolRecords in the US, but left them in 1968 upon opening their own vanity label, Apple Records, staying there even into their post-breakup solo careers. Creator/{{EMI}}, Parlophone's parent company, distributed Apple until 1976, after which the label was absorbed and the band members shifted to various other labels. Music/JohnLennon, Music/GeorgeHarrison, and Music/RingoStarr had already respectively moved to Creator/GeffenRecords, Creator/WarnerBrosRecords, and Portrait Records, while Music/PaulMcCartney and Music/{{Wings|Band}} would move back to Parlophone in the UK and to Creator/ColumbiaRecords in the US. [=McCartney=] would eventually return to Capitol Stateside as well in 1985. Lennon and Harrison's solo albums returned to Capitol/EMI/Universal by 2010, while the remainder of [=McCartney's=] solo catalog didn't return to Capitol until his contract with Concord Music ended in January 2017. Starr's discography remains scattered across different labels (including Capitol, Creator/AtlanticRecords, Creator/EpicRecords, and MNRK). And Harrison's solo albums hopped again to BMG in 2021 as part of a new deal inked with Harrison's estate that also includes the recordings of other artists on his vanity label Dark Horse (most notably Music/RaviShankar and Attitudes), which has its own history of hopping distributors. |
| 146 | * After Music/MotleyCrue's contract with Creator/ElektraRecords expired, they bought the rights to their masters and started their own label, Motley Music, before selling their entire catalogue to BMG in 2021. |
| 147 | * When soundtrack albums are expanded, they're not always on the same label that put out the original - examples are legion, like Jay Chattaway's ''Film/InvasionUSA1985'' (originally released on LP in 1985 by Creator/VareseSarabande in North America and Milan internationally; Creator/{{Intrada}} later issued the complete score in 2008). |
| 148 | * Cat Stevens' first two albums were released by Creator/DeramRecords while his albums from ''Mona Bone Jakon'' to ''Back to Earth'' were released on Creator/AAndMRecords in North America and Creator/IslandRecords elsewhere. Since he returned to recording as Yusuf Islam he released ''An Other Cup'' on [[Creator/AtlanticRecords Atlantic]], ''Roadsinger'' on Hip-O and ''Tell 'Em I'm Gone'' on [[Creator/ColumbiaRecords Columbia]]. |
| 149 | * Music/TheAvalanches have always been signed to Modular in their home country of Australia and XL Recordings in the UK, but the North American rights to their debut album ''Music/SinceILeftYou'' transferred between London-Sire, then Creator/ElektraRecords, and currently, [[Creator/InterscopeRecords Interscope]], with the Japanese rights going from independent label Toy's Factory to [[Creator/UniversalMusicGroup Universal]]. Their second album ''Music/{{Wildflower}}'' was released worldwide in collaboration with four labels, the first three of which are Universal subsidiaries: Modular, EMI Australia, Astralwerks, and Creator/XLRecordings. |
| 150 | * One of the most legally important examples in music is Teena Marie, who was embroiled in a legal battle with Creator/{{Motown}} in 1982 as a result of signing with Creator/EpicRecords: Motown had sued her for breach of contract, despite refusing to release the new material she had recently recorded, which prompted a countersuit from Teena that accused the label of withholding royalties in spite of her history of contractual compliance. In a huge victory for artists' creative freedom, Teena won the case, which caused a law entitled The Brockert Initiative to be passed that prohibits record companies from keeping artists under contract if they refuse to release any new material by them; this law enabled a number of popular artists in the 1980s and 1990s to leave their unsupportive record labels, such as Music/GeorgeMichael, Music/TomPetty, Music/LutherVandross, and the Mary Jane Girls. |
| 151 | * For many years, a common practice for recording artists that changed labels would be to record an album (or two) of re-recordings of past hits, in order to allow the new label to reap some additional airplay and sales benefits. Here are a few examples: |
| 152 | ** Music/JohnnyCash initially recorded for Sun Records. He later signed with Creator/ColumbiaRecords and eventually recorded an album of re-recordings of Sun-era songs. In the late 1980s, Cash left Columbia and signed with Creator/MercuryRecords and one of his first releases for the new label was yet another album of recordings of songs he'd previously recorded at both Sun and Columbia. |
| 153 | ** The Olympics ("Hully Gully", "Big Boy Pete" and others) recorded the original versions of their big hits on the Demon, Arvee and Tri-Disc labels. In 1966, they signed with Mirwood, who had them record ''Something Old, Something New'', an album which included re-recordings of their past hits alongside newer material. Much to the annoyance of collectors, many reissues and various artists compilations have used those versions instead of the originals. |
| 154 | ** Music/LittleRichard had a short stint on Vee-Jay in the mid-60s, during which he recorded an album with re-recordings of his 1950s hits on Specialty. |
| 155 | ** Music/RoyOrbison, as part of his all too brief CareerResurrection in the late '80s, was one of the first signings to the then-new American division of Creator/VirginRecords, His first album for Virgin (and last during his lifetime) was ''In Dreams'', a two-disc set of re-recordings of his famous hits from his long stints on Monument, London, and Creator/{{MGM|Records}}. |
| 156 | *** Orbison's catalogue is now distributed by Sony's Legacy Recordings. |
| 157 | * Another notorious Creator/{{Motown}} example involves Mary Wells, one of the early stars of the label. Right after getting her biggest hit in her career with "My Guy", Wells, angry that the money made from "My Guy" was reinvested into promoting Music/TheSupremes instead of her, freed herself from her Motown contract using the old "contracts signed by minors are null and void" trick (she signed the contract at 17) and went to Creator/TwentiethCenturyFox's record label. Berry Gordy tried (and failed) to sue her for breach of contract; unsubstantiated rumors claim that he sabotaged her post-Motown career (after Fox, she went to Atco, then Jubilee, then Reprise) by putting pressure on radio stations and distributors with threats of withholding future Motown product if they played or sold her records. |
| 158 | * The Del-Vikings were involved in a rather messy example of this trope. After hitting it big with "Come Go with Me", which was initially on Fee Bee Records before Dot Records licensed it for national distribution, the group got a new manager. Said manager got the members who were underage at the time they signed with Fee Bee, which was all of them minus one, to sign a new contract with Creator/MercuryRecords. This resulted in two different Del-Vikings groups, one on Mercury and one on Fee Bee/Dot, who released new records simultaneously to great confusion. (Meanwhile, some of their early demos were issued on an album by Luniverse, a label otherwise known for their Buchanan and Goodman "break-in" records.) Eventually, a lawsuit resulted in Mercury gaining exclusivity on the Del-Vikings name for recordings and the Fee Bee/Dot group renamed themselves The Versatiles. |
| 159 | * Music/TheOffspring released their first album through Nemesis Records, who dropped them after just two years. [[Music/BadReligion Brett Gurewitz]] later signed the band through his Epitaph label, releasing ''Ignition'' and ''Smash'' within two years. When ''Smash'' ended up becoming a SleeperHit, Epitaph tried to screw The Offspring out of royalties for album sales by attempting to sell the label to another corporation. Frontman Dexter Holland wasn't pleased and reluctantly signed with Creator/ColumbiaRecords in 1996 just to flee from Gurewitz. The band continued to release their music through Columbia (though their Columbia debut, ''Ixnay on the Hombre'', was released through Epitaph in Europe for contractual reasons) until 2012's ''Days Go By''. The Offspring is now signed to Concord Records, and their Columbia catalogue (and all their older compositions) are now owned by Round Hill Music. |
| 160 | ** After the group's signing to Columbia was announced, some in the music press trashed them as sellouts once it was revealed Epitaph had offered them a more lucrative contract. Holland [[https://web.archive.org/web/19990504085010/http://members.aol.com/delirium4u/offspring/letter1.txt had this to say about that]]: |
| 161 | --->We took less money to sign with Columbia. We had to sign for more records to go with Columbia. Our signing with Columbia was not to try and make more money. We did it because we won't record for [[ExecutiveMeddling someone who thinks he can force us to]]. We won't record for a guy who's worse than a major label. [[MusicIsPolitics We're gonna do whatever the fuck we want to]]." |
| 162 | * Hoo boy, Music/DavidBowie. One of the most label hop-happy solo artists in the music business, Bowie had recorded and released music under at least '''fourteen''' different labels over the course of a career spanning roughly half a century; this actually ended up making his back-catalog the source of quite a few legal quandaries over the years, most notably with his pre-''Music/SpaceOddity'' material, as illustrated with the infamous shelving of ''Toy'' in 2001. In order, Bowie has operated under the following record labels: |
| 163 | ** Vocalion Pop (1964) |
| 164 | ** Creator/ParlophoneRecords (1964-1965)[[note]]Parlophone also inherited the rights to Bowie's catalog following the dissolution of EMI[[/note]] |
| 165 | ** Creator/PyeRecords (1966) |
| 166 | ** Creator/DeramRecords (1966-1967) |
| 167 | ** Creator/MercuryRecords (1969-1971)[[note]]''Music/SpaceOddity'' was originally released through Mercury's parent label, Creator/PhilipsRecords, in the UK and several other countries, but the contract was under Mercury. Bowie was dropped from the label in 1971 at the request of his manager, Tony Defries, who disliked the way that they were handling Bowie's finances. Mercury gave up the rights to the recordings Bowie made under them after Defries paid off his debts to the label.[[/note]] |
| 168 | ** B&C Records (1971)[[note]]One single released under the pseudonym "Arnold Corns," during Bowie's attempts to get out of his Mercury contract[[/note]] |
| 169 | ** Creator/RCARecords (1971-1982)[[note]]RCA also reissued ''Music/SpaceOddity'' and ''Music/TheManWhoSoldTheWorld'' worldwide, being granted legal ownership of them once Bowie signed onto the label; RCA's rights to Bowie's 1969-1982 catalog would expire in 1988. Bowie left the label due to a mix of CreativeDifferences, a perception that RCA was "milking" his catalog, and the expiration of a costly and lopsided legal agreement with his ex-manager. He would later make amends with RCA, leading them to be given UK distribution rights for Bowie's 90's albums as well as for ''Music/TheNextDay'' & ''[[Music/BlackstarAlbum ★]]''.[[/note]] |
| 170 | ** Creator/{{EMI}} (1983-2001)[[note]]Most of Bowie's material during this era was released under various EMI sublabels; ''Tin Machine'' and its associated singles, meanwhile, were released through EMI alone. Bowie officially split from EMI as his main label in 1990 due to their reservations towards ''Tin Machine'', but allowed them to release his music internationally until 2001.[[/note]] |
| 171 | *** Creator/EMIAmericaRecords (1983-1988) |
| 172 | *** Creator/VirginRecords (1993-2001)[[note]]Various single releases and albums from 1993-1997 were released through Virgin outside of the UK; Virgin also distributed remastered reissues of his 1983-1988 backlog in 1995 and his 1969-1989 backlog in 1999. ''[[Music/HoursDavidBowieAlbum 'hours...']]'' was released exclusively through Virgin. Bowie eventually left the label in 2001 due to the shelving of ''Toy''.[[/note]] |
| 173 | ** Creator/{{Rykodisc}} (1989-1992)[[note]]Remastered reissues of 1969-1981 backlog, plus ''Sound+Vision'' BoxedSet and "Fame '90" single[[/note]] |
| 174 | ** Victory Music (1991)[[note]]Singles from this period released through Victory's parent label, London Records[[/note]] |
| 175 | ** Creator/AristaRecords (1993-1997)[[note]]''Music/BlackTieWhiteNoise'' was specifically released through Arista's sublabel Savage Records[[/note]] |
| 176 | ** Creator/ColumbiaRecords (2002-2017)[[note]]Also held ownership of ''Music/{{Outside}}'', ''Music/{{Earthling}}'', and ''[[Music/HoursDavidBowieAlbum 'hours...']]'' until 2016.[[/note]] |
| 177 | ** Creator/WarnerMusicGroup (beginning in 2023)[[note]]re-releases of his Columbia Records albums[[/note]] |
| 178 | * Music/{{Chicago|Band}} released its albums first through Creator/ColumbiaRecords, where they would thrive for more than a decade until 1980's ''Chicago XIV''. After their release from Columbia the following year, Chicago then signed a joint record deal with Full Moon Records and Creator/WarnerBrosRecords to release ''Chicago 16'', and they would stay in both labels (though they were transferred to Warner sister label [[Creator/RepriseRecords Reprise]] starting with ''Chicago 19'') until ''Twenty 1'' in 1991. After a one-album deal with Giant Records in 1995, the band went indie, and in the process reacquired their Columbia output from Creator/SonyMusicEntertainment under a legal settlement. The band then signed with Warner-owned Creator/RhinoRecords, sending their Columbia albums to them in the process, for eight years before deciding to go indie again in 2011. |
| 179 | * Music/AliceInChains released all of their albums through Creator/ColumbiaRecords until their breakup in 2002, after the death of lead vocalist Layne Staley. When the band reunited with William [=DuVall=] replacing Staley several years later, they signed with Creator/VirginRecords for their 2009 comeback album, ''Black Gives Way to Blue''. When Virgin parent EMI went belly-up, they were transferred to Virgin parent Creator/CapitolRecords for ''The Devil Put Dinosaurs Here'' in 2013. Five years after that, the band parted ways with Capitol and signed with BMG for ''Rainier Fog''. |
| 180 | * Music/{{Genesis|Band}} were originally signed onto Creator/DeccaRecords, a deal which lasted all of [[Music/FromGenesisToRevelation one album]] before the band were dropped due to it underperforming. They would then sign with Creator/CharismaRecords in the UK and Creator/ImpulseRecords in the US, the latter of which ''also'' lasted all of [[Music/TrespassGenesisAlbum one album]] before having Charisma distribute them on both sides of the Pond. In the UK, they would stay on Charisma until its 1986 absorption by Creator/VirginRecords, onto whom the band would move. In the US, meanwhile, Genesis would sign onto Creator/AtcoRecords in 1974 before moving onto their parent label, Creator/AtlanticRecords, after the departure of Steve Hackett. Atlantic would inherit the US rights to the 1971-1973 albums as a result. |
| 181 | * While Music/PeterGabriel stuck with Creator/CharismaRecords for British distribution of his albums until Charisma folded in 1986, leading him to switch to his Real World Records vanity label, he certainly wasn't as consistent with his American distributors. His debut album was released in the US by Creator/AtcoRecords (who were also Music/{{Genesis|Band}}' American distributors at the time), and his second album was released on Atco's parent label, Creator/AtlanticRecords. Shortly before his third album's release in 1980, Atlantic dropped him because they no longer considered his work commercially viable (both due to the heavier influence of African music and because executives misinterpreted [[Music/{{Melt}} "Lead a Normal Life"]] as a CreatorBreakdown). As a result, the album was released on Creator/MercuryRecords instead. Just before Mercury's US release of the album, Gabriel decided to hop over to Creator/GeffenRecords, becoming one of their earliest signed artists. Gabriel would stick with Geffen for US distribution of all his later albums until 2008, when he switched to Creator/{{Rykodisc}} for distribution of his collaborative album ''Big Blue Ball''. Afterwards, all his albums would be distributed in the US by Real World Records. |
| 182 | * Music/TaylorSwift left her longtime home of Big Machine Records in 2018 for Creator/UniversalMusicGroup's subsidiary Creator/RepublicRecords after her contract with the former had been fulfilled. |
| 183 | * Brazilian singer Tim Maia's tempestive behavior was easily demonstrated by how he released albums in every major between the 1970s and 1990s, usually leaving on bad terms. Twice he was forced to release independently due to this. |
| 184 | * Thanks to frustrations with Creator/CapitolRecords' distribution of their work in the U.S., Music/PinkFloyd switched to Creator/ColumbiaRecords in the region for the release of ''Music/WishYouWereHere1975'' and stayed there until the rights to the band's post-''Dark Side'' albums transferred back to Capitol in 2000. The band's back catalog transferred back to Sony ''again'' in 2016 under the band's Pink Floyd Records imprint in the wake of the sale of Creator/{{EMI}}, while Creator/ParlophoneRecords handles distribution in the U.K. and Europe. |
| 185 | * Music/{{Rush|Band}} switched to Creator/AtlanticRecords from Creator/MercuryRecords for U.S. and international distribution with ''Music/{{Presto|Album}}'' in 1989. In 2011, they switched to Creator/RoadrunnerRecords for the remainder of their career. In Canada, they released their debut on Moon Records, which led to their deal with Mercury. The band then moved to Anthem, where they stayed until their breakup, though Anthem itself switched distribution several times, from Polydor to Capitol, to Sony, to Universal. |
| 186 | * Music/JoniMitchell started her recording career on Creator/RepriseRecords before moving to Asylum Records (a sister label of Creator/ElektraRecords) for her most popular work. She was one of Creator/GeffenRecords' first signings in the '80s, before moving back to Reprise, then finally to Starbucks' Hear Music before her retirement. 1991's ''Night Ride Home'' would be the first time her work was on a label not distributed by Creator/WarnerBrosRecords after Geffen changed its distribution to Creator/{{MCA}} in 1990. |
| 187 | * Music/{{REM}} released their debut single, "Radio Free Europe", on local indie label Hib-Tone Records before signing onto Creator/IRSRecords the following year. In 1988, they famously jumped ship to Creator/WarnerBrosRecords after their already-shaky relationship with I.R.S. became increasingly volatile over the years, especially after they shifted distributors from Creator/AAndMRecords to Creator/{{MCA}} in 1985. R.E.M. would remain on Warner for the remainder of their lifetime. In 2013, Concord bought the rights to their catalog, and in 2017 began re-issuing their material under Craft Recordings. |
| 188 | * British artist management company EG cycled through a number of different distributors over the years. |
| 189 | ** In the UK, EG initially licensed out their artists' work to Creator/IslandRecords until 1975, when the group eventually transformed into their own record label and entered a distribution deal with Creator/PolydorRecords. This lasted until 1991, when they moved over to Creator/VirginRecords, where they now remain. |
| 190 | ** In the US, the band were consistently aligned with Creator/WarnerMusicGroup until the shift to Virgin in 1991. Exactly which Warner labels an act was signed to varied: Music/RoxyMusic for instance bounced between Creator/RepriseRecords, Creator/AtcoRecords, and Creator/WarnerBrosRecords, while Music/KingCrimson stayed on Creator/AtlanticRecords until their first breakup in 1974, then moved to Warner Bros. from their 1981 reformation until 1989, when EG gained the rights to their material worldwide. The Crim themselves would found their own Discipline Global Mobile label in the '90s, shifting from EG & Virgin to Sanctuary Records in 2002 before moving to a self-distributed model when Sanctuary closed in 2007. |
| 191 | * Hoo boy, Music/{{Sparks}}. The Mael brothers' idiosyncratic style has scared off record labels left and right, with their initial deal with Bearsville, the vanity label from Music/ToddRundgren distributed by Warner Bros., ending after only two albums. Yet, their [[GermansLoveDavidHasselhoff gigantic popularity in Europe]] led to stints on respected mini-major labels there such as Creator/{{Island|Records}} (where their highly successful ''Music/KimonoMyHouse'' made them superstars), Virgin, Oasis (owned by Music/GiorgioMoroder), Carrere, and Logic. In the US, they seemed to hop from album to album after their deal with Bearsville ended, with their homes including Island’s fledgling US division, Creator/{{Columbia|Records}}, Creator/{{Elektra|Records}}, Creator/{{Atlantic|Records}}, Curb (with distribution by Creator/{{MCA}}), Creator/{{Rhino|Records}}, Creator/{{Roadrunner|Records}}, Oglio, Palm (founded by Island founder Chris Blackwell), Artful, their own vanity label Lil' Beethoven, and In The Red. The masters for much of their output after their stint on Island remain with them, and they recently signed a deal with the new incarnation of BMG for worldwide distribution. Their supergroup with Music/FranzFerdinand, FFS, released on that band’s label Domino. And if that wasn’t enough, the soundtrack to their documentary ''The Sparks Brothers'' was released by Universal Music Group, the soundtrack to their film ''Film/{{Annette}}'' went to respected soundtrack label Creator/{{Milan|Records}} (owned by Sony since 2019), and they returned to Island again in 2023 for ''This Girl Is Crying In Their Latte''. |
| 192 | * Another high-profile hop was Music/{{ABBA}}. Always with Polar Music in Sweden, their manager negotiated separate deals with multiple record companies around the world, territory by territory, in their heyday. This was an unheard of approach then, and certainly not always the case now. The Swedes' worldwide label homes included, to name a few, Creator/{{Atlantic|Records}} in the US and Canada, Creator/{{Epic|Records}} in the UK and Israel, [[Creator/RCARecords RCA Victor]] in Oceania and Latin America, Vogue in France, Sunshine in South Africa, Discomate in Japan, and Creator/{{Polydor|Records}} in the rest of Europe and Asia. Most of these arrangements ended in 1989, when [=PolyGram=] (Polydor's parent company) acquired Polar, and ABBA's catalog with it. The remaining arrangements expired in 1992. To celebrate ABBA's catalog going under one worldwide roof, as well as their burgeoning return to mainstream popularity, Polydor released ABBA's ''Gold: Greatest Hits'' later that year. Almost three decades later, they jumped ship to Creator/{{Capitol|Records}}, another label under the umbrella of what is now the Creator/UniversalMusicGroup, for their comeback album ''Music/{{Voyage|2021}}''. |
| 193 | * This happened quite a lot with Music/YellowMagicOrchestra, especially internationally. |
| 194 | ** In the US and Europe, YMO were originally signed onto Creator/AAndMRecords; an executive from them signed the band on after catching a live performance in support of their debut album. The band remained on A&M until 1981, when the label dropped them following diminishing commercial returns that culminated in the chart failure of ''Music/{{BGM}}'', resulting in an 11 year period where YMO's music was relegated to NoExportForYou status in the States. For European distribution, meanwhile, YMO switched over to using their Japanese label, Alfa Records, directly for ''Music/{{Technodelic}}'' and a belated release of ''Music/SolidStateSurvivor'', before Alfa partnered with indie label Pick Up Records to handle the rest. |
| 195 | ** For the 1992-1993 reunion, the band signed onto [[Creator/{{EMI}} Toshiba EMI]] subsidiary Eastworld Records in Japan rather than Alfa; the fact that Alfa still owned the trademark rights to the "Yellow Magic Orchestra" name meant that the band had to bill themselves as "Not YMO" during the reunion. EMI would distribute ''Music/{{Technodon}}'' themselves in Europe, but not North America. Meanwhile, Alfa would partner with indie label Restless Records to release the 1992 remastered [=CDs=] of YMO's 1978-1984 catalog in not only Europe, but for the first time since 1981, the US as well. Unfortunately, presumably due to low sales (given the rise of {{grunge}} the previous year, reflected in the later scarcity of secondhand copies), the Restless deal ultimately fell through, and Alfa would never again pursue distributing YMO in America. |
| 196 | ** During their later reunions in the 2000s and 2010s, they would switch over to Ryuichi Sakamoto's own Commmons Records label (note the three M's), while Alfa, now owned by Creator/SonyMusic, would license out the band's back catalog to Sony affiliates Creator/EpicRecords and GT Music for reissues in Japan, Europe, Canada, with reissue label Music on Vinyl (and its sister branch Music on CD) taking over in Europe from 2015 onwards. Meanwhile, ''Technodon'' would fall under the ownership of Creator/UniversalMusicGroup, who bought out most of EMI's assets following their initial dissolution in 2012; UMG would reissue ''Technodon'' on both SACD and, for the first time, LP in 2020 to coincide with Alfa's 40th anniversary reissues. |
| 197 | * Music/RyuichiSakamoto's work is scattered across a huge amount of labels, so much so that it plays a big role in why the majority of his discography is stuck in KeepCirculatingTheTapes purgatory (Sakamoto is known for many things as an artist, and commercial success is not one of them outside his soundtrack releases). |
| 198 | ** In Japan, Sakamoto's work bounced between Better Days Records, Alfa Records (due to his contract as a member of Music/YellowMagicOrchestra), School Records, Midi Inc, Terrapin Records, Creator/VirginRecords, Güt Records, and Creator/WarnerMusicGroup before finally settling on his vanity label, Commmons (note the three M's). Creator/SonyMusic would inherit the rights to a good chunk of Sakamoto's back-catalog in Japan, making it easier to keep his earlier albums in print. |
| 199 | ** Internationally, Sakamoto's catalog has changed hands even more frequently, shifting from Creator/IslandRecords, Creator/EpicRecords, 10 Records, [[Creator/ColumbiaRecords CBS Records]], Creator/VirginRecords, Creator/ElektraRecords, Creator/MilanRecords, KAB America, and Creator/DeccaRecords, in many cases hopping back and forth between previous labels (for instance, ''Neo Geo'' was distributed by Epic in the US after being away from them since ''Left Handed Dream'' six years prior, while Milan has handled most of Sakamoto's international releases in TheNewTens after briefly distributing his work in the mid-'90s). |
| 200 | * Music/PDQBach, Peter Schickele's AffectionateParody of ClassicalMusic composers, was initially signed to Vanguard Records before switching to audiophile classical label Telarc in 1989, staying there for the rest of his career. |
| 201 | * Music/JeanMichelJarre's debut single was released on Pathé Records before he moved to Sam Fox for his debut album, kickstarting his longstanding working relationship with music executive Francis Dreyfus. After the first album, Dreyfus moved him over to Eden Roc, then to Motors Records for ''Music/{{Oxygene}}''. Once that album became a success, Jarre was shifted over to Dreyfus' larger eponymous label, partnering with Creator/PolydorRecords to distribute his work internationally. In 1997, Jarre would switch to Creator/EpicRecords for international distribution, and after completing his contract with Dreyfus, he moved over to Creator/WarnerMusicGroup in France, first signing onto [=EastWest=] before sticking to Warner Music France until 2007, when he briefly moved over to Creator/CapitolRecords and Creator/{{EMI}}. Eventually, Jarre would settle down on Creator/ColumbiaRecords in TheNewTens, remaining there to this day. |
| 202 | * After releasing four albums on Creator/MercuryRecords (the third of which was put out under the Creator/FontanaRecords imprint), Music/TearsForFears switched to Creator/EpicRecords just before the commercial release of ''Music/RaoulAndTheKingsOfSpain'' (the move was so late, in fact, that early promo [=CDs=] were still on Mercury). The deal fell through after the album undersold, leading them to return to Mercury's parent company, Creator/UniversalMusicGroup, afterwards, jumping between various labels under their wing. ''Music/EverybodyLovesAHappyEnding'' would be released by New Door Records, the GreatestHitsAlbum ''Rule the World'' would be jointly put out by [[Creator/VirginRecords Virgin EMI]], Mercury, and [=UMe=], and their next studio album, ''The Tipping Point'', would be released through Concord Records. |
| 203 | * Music/{{Kraftwerk}} were originally signed to Creator/PhilipsRecords, with ''Music/{{Autobahn}}'' being distributed in the US by the Creator/VertigoRecords sublabel. For ''Radio-Activity'', they shifted to Creator/{{EMI}} under their vanity imprint Klink Klang, with distribution in various other regions (including the US) being handled by Creator/CapitolRecords. In the '80s, EMI would take over from Capitol everywhere except North America, where the band switched to Creator/WarnerBrosRecords, who then moved them over to Creator/ElektraRecords in 1986; Elektra would reissue the Warner albums in the wake of this. For ''Tour de France Soundtracks'', the band moved over to Astralwerks in the US and back to EMI in Canada and Mexico. Finally, Creator/ParlophoneRecords would inherit the rights to the band's catalog worldwide following the dissolution of EMI. |
| 204 | * Music/FrankZappa was originally signed to Creator/VerveRecords. When the contract expired in 1967, he and manager Herb Cohen successfully negotiated with Verve to open Bizarre Records as a vanity imprint. Verve distributed Zappa's releases under Bizarre until 1969, when Creator/RepriseRecords took over. In 1973, Bizarre went under, and Zappa and Cohen concurrently opened [=DiscReet Records=] as a new imprint under Creator/WarnerBrosRecords. However, legal issues with Cohen would result in Zappa cutting ties with Warner and opening Zappa Records under Phonogram in 1977. In 1981, he would open Barking Pumpkin Records and stay there for the rest of his life, partnering with Creator/{{Rykodisc}} and Creator/{{EMI}}; Ryko would inherit the rights to the Zappa catalog on CD until 2012, when Zappa's estate took the rights over to Creator/UniversalMusicGroup. They remain owned by Universal to this day. |
| 205 | * Music/FallOutBoy is another interesting case. When they first signed to Creator/IslandRecords, they gave the band money to sign to Creator/FueledByRamen (at the time, a small independent label that was already scouting them) for a one-off debut album. That album, ''Take This To Your Grave'', became a smash hit in the indie circuit. They hopped back to Island for a three-album deal (which led to another three-album deal after the end of their hiatus), but not without FOB member Pete Wentz starting Decaydance, his own vanity label, with distribution from FBR. This partnership proved even more successful, to the point where FBR became a big name in the emo genre and was later acquired by Creator/AtlanticRecords after a long-term distribution deal. And once Fall Out Boy's deal with Island ended, they returned to FBR (now under the Creator/ElektraRecords umbrella) twenty years later for their eighth album ''So Much (for) Stardust''. |
| 206 | * Music/WeirdAlYankovic first signed onto Creator/CapitolRecords, through whom he released his debut single, "My Bologna". Shortly after, however, Al learned that Capitol were uninterested in promoting him and released the EP ''Another One Rides the Bus'' himself under the one-off vanity label Placebo Records, later earning a distribution deal with TK Records. However, TK quickly went under, leading Al to sign with Scotti Bros, who put him under the imprint Rock 'n Roll Records. This deal continued until Scotti Bros. changed distributors from Creator/ColumbiaRecords to BMG in 1990, after which they closed Rock 'n Roll and moved him under their main wing. In 1999, Al moved over to Volcano Records and stayed there for the next 15 years, moving over to Creator/RCARecords for ''Music/MandatoryFun'' in 2014. |
| 207 | * Music/RunDMC were originally signed to Profile Records in the US and 4th & Broadway Records in the UK. While they stuck with Profile Stateside, in the UK, they shifted over to London Records in 1986, then got Profile to distribute them worldwide during the '90s. In 1999, they moved over to Creator/AristaRecords after their buyout of Profile. |
| 208 | * Music/EltonJohn originally signed onto fledgling indie label DJM Records in the UK and Creator/{{MCA}} in the US; MCA initially handled his work through subsidiary label Uni Records before switching to distributing John's work themselves in 1973. In 1976, John switched over to his vanity imprint, the Rocket Record Company, which had previously been an outlet for other artists for three years; Rocket would switch distributors to Phonogram in 1978, while John's would sign a new Stateside deal with Creator/GeffenRecords in 1981. John would move back to MCA in the US during the second half of the '80s before switching to [=PolyGram=] worldwide in the mid-90s, with them handling his releases through various scattered sublabels, a practice that would continue after [=PolyGram's=] absorption into Creator/UniversalMusicGroup in 1999. |
| 209 | * Music/ElectricLightOrchestra were initially signed to Creator/HarvestRecords in the UK and Creator/UnitedArtistsRecords in the US. After two albums, the band moved over to Creator/WarnerBrosRecords in the UK before their manager, Don Arden, opened his own label, Jet Records, in 1974, moving the band there. While Jet was distributed by United Artists in the US, in Britain, they were handled by Creator/IslandRecords for a year, then Creator/PolydorRecords for another before moving to United Artists worldwide. In 1978, Jet switched distributors again to Creator/ColumbiaRecords, a deal that would remain in place until Arden shut down the label in 1985. Because of Jet's closure, ''Balance of Power'' and ''Zoom'' were released through Creator/EpicRecords (with CBS Associated Records handling the US release of the former) before the band moved back to Columbia for their material as Jeff Lynne's Electric Light Orchestra. |
| 210 | * Like many Creator/VirginRecords acts, Music/CultureClub's catalog was originally licensed out to Creator/EpicRecords in the United States before Virgin opened an in-house American division in 1986, who took control of the band's material Stateside from that point onward. For the band's 2018 album ''Life'', they moved over to BMG. |
| 211 | * Music/MikeOldfield was originally signed to Creator/VirginRecords as their first artist. Virgin distributed his work worldwide (including through Creator/AtlanticRecords for most territories for the first release of ''Music/TubularBells''), save for a brief period in 1980-1982 where he was licensed out to Creator/EpicRecords in the US, encompassing ''[=QE2=]'', ''Music/FiveMilesOut'', and a reissue of ''Music/TubularBells''. Thanks to his relationship with the label growing increasingly strained over the years, Oldfield jumped ship to WEA in Europe and Creator/RepriseRecords in the States as soon as his contract was completed in 1991. He would remain on the labels until 2003, when he moved over to Creator/MercuryRecords, then went back to Virgin in 2014 during its stint as "Virgin EMI," having reconciled with CEO Richard Branson. Oldfield would then be shifted over to Creator/{{EMI}} when the label was revived in 2020. |
| 212 | * Music/DavidSylvian initially spent his solo career on Creator/VirginRecords, carrying over from the tail end of his time with Music/{{Japan}}, before shifting to his own independent label, Samadhi Sound, in 2003. In TheNewTwenties, he would partner with Anglo-German independent label Grönland Records for compilations and archival releases. |
| 213 | * Music/{{MGMT}} are an interesting case that occurred within a single album. The band were originally signed to RED Ink Records, a small-scale imprint founded by Creator/SonyMusic and RED Distribution, and released ''Music/OracularSpectacular'' through them. When the album proved to be a cult hit, in part due to its aggressive advance promotion, the band were moved over to Sony's main label, Creator/ColumbiaRecords, who gave the record a wider release. The band would continue to put out subsequent material through Columbia. |
| 214 | ** In a similar vein, Music/PassionPit released their first EP ''Chunk of Change'' through a RED-distributed independent label, Frenchkiss Records. When "Sleepyhead" and "Little Secrets" became big hits on the indie circuit, they hopped to Columbia for their debut album ''Manners''. |
| 215 | * Music/SteelyDan were originally signed to Creator/ABCRecords, the parent label of the iconic jazz imprint Creator/ImpulseRecords. When Creator/{{MCA}} bought out and absorbed ABC in 1979, the band were moved over there, releasing ''Gaucho'' through MCA before splitting up. In the aftermath of their breakup, Donald Fagen signed with Creator/WarnerBrosRecords to release ''Music/TheNightfly'', and his contract with Warner meant that when the Dans of Steel finally reunited and put out ''Two Against Nature'' in 2000, it was handled by Creator/RepriseRecords (who previously put out Fagen's ''Kamakiriad'') in conjunction with Giant Records, an imprint that Warner created in 1990 to fill the void after the sale of Creator/GeffenRecords to... MCA. Reprise would handle ''Everything Must Go'' themselves three years later. |
| 216 | * The sale of Creator/GeffenRecords to Creator/{{MCA}} impacted two artists signed to WEA abroad, Chris Rea and Music/{{Enya}}, who were both signed to Geffen in the US. Since they could not move to non-WEA labels, Reprise came to the rescue and quickly inked deals with both. |
| 217 | * Being an immensely prolific artist who constantly fought for artistic freedom, Music/FrankSinatra inevitably spread himself out across a number of labels. Initially singed to Creator/ColumbiaRecords, he moved over to Creator/CapitolRecords in 1954 before moving to his newly opened vanity label, Creator/RepriseRecords, in 1961. The Reprise deal would last even after its buyout by Creator/WarnerBrosRecords in 1963 and shuttering in 1976, with Sinatra keeping it alive for his own releases until the commercial failure of ''She Shot Me Down'' in 1981. In 1984, Sinatra would sign with Music/QuincyJones' own Warner-backed vanity imprint, Qwest Records, only to leave that label after the failure of ''L.A. Is My Lady'' and the scrapping of its planned follow-up in 1988. Sinatra ultimately returned to Capitol in time for the ''Duets'' duology in the early '90s. |
| 218 | * Music/{{The Cure|Band}} were originally signed to Fiction Records, a sublabel of Creator/PolydorRecords, who distributed their material worldwide. In 1982, they cut a North American deal with Creator/AAndMRecords, which lasted all of one album before the band went on hiatus; when they returned, they hopped over to Creator/SireRecords in the region, which also lasted only one album before the band moved to Sire's sister label, Creator/ElektraRecords[[note]]Elektra would inherit the rights to ''Pornography'' from A&M in 1988, while Sire maintains ownership of ''The Top'' to this day[[/note]]. The Fiction/Elektra arrangement would last all the way until 2000, after which they moved over to Creator/GeffenRecords worldwide[[note]]''The Cure'' was co-distributed by co-producer Ross Robinson's I Am imprint outside the US, while ''4:13 Dream'' was co-distributed by Suretone Records worldwide[[/note]]. |
| 219 | * Music/RickAstley was originally singed to Creator/RCARecords and remained there until the early '90s, when he retired from music to look after his family. After he came out of retirement in 2000, he signed a new deal with Creator/PolydorRecords, who released ''Keep It Turned On'' through their Cruz Music imprint. The Polydor deal lasted only for that album, with Astley returning to RCA for 2005's ''Portrait'' before moving over to BMG for all of his following material. |
| 220 | * Music/{{Yello}} have hopped between multiple labels over the years. They put out their debut single, "I.T. Splash", through indie label Periphery Perfume before signing with Creator/VertigoRecords in continental Europe, Ralph Records in the US, and Do It Records in the UK. In 1983, they moved over to Creator/ElektraRecords in the US and Stiff Records in the UK; in 1985, they moved over to Elektra in the UK as well. Vertigo's sister label, Creator/MercuryRecords, bought out Yello's US & UK contracts that same year, resulting in both them and Elektra releasing their own editions of ''Stella'' simultaneously. Shortly after, they moved over to Mercury worldwide, briefly hopping onto Creator/FontanaRecords for ''Flag''. Yello stayed on Mercury for the remainder of the 20th century in the UK & Europe, while in the US they moved over to sister label 4th & Broadway in the mid-'90s. Afterwards, the band put out ''The Eye'' through Motor Records (in conjunction with Radikal Records in the US) before moving over to Creator/PolydorRecords, where they remain to this day. |
| 221 | [[/folder]] |
| 222 | |
| 223 | [[folder:Online Examples]] |
| 224 | * As ''WebAnimation/{{Interlopers}}'' is a multiple animator project, episodes aren't hosted on just one channel, which can admittedly be confusing for newcomers. ''Chara Vs Buddy'' and ''Chara Vs Jim Sterling'' were uploaded on ''WebAnimation/NCHProductions'', ''VS Béte Noire'' was hosted by Camila Cuevas, ''Chara's Hate'' came out on Jael Peñaloza's channel, and ''The Good, The Bad, and the Kiwi, Pt.1'' was uploaded to xxTC-96xx, [=TC-96=]'s official youtube-channel. And that's not to mention the shorts, which are uploaded in a random pattern with no trailers or release dates beforehand. |
| 225 | * ''WebAnimation/FiveNightsAtFreddysDaresAsksZero2zero2'' was originally uploaded on [=Zero2zero 2=]'s [=YouTube=] channel but because of her quitting the platform in late-2021 to focus on RealLife, the series ended up moving to the M8's Animations channel from Dare 6 onwards. |
| 226 | * When Platform/BlipTV closed down in 2015, everyone on there either had to Channel Hop or go dark. |
| 227 | * Many of the current and former contributors to Website/ChannelAwesome, including Creator/DougWalker himself, started out on Website/YouTube. In Walker's case, he was driven to create the site because [=YouTube=] started removing his videos due to copyright issues.\ |
| 228 | In 2012, Doug, Brad, Lindsay, and Todd came back to Website/YouTube with the help of Blip on the League of [=SuperCritics=] channel. However, various issues as the years went on led to respective dissolutions surrounding Blip's 2015 shutdown. The contributors moved onto their own individual channels: Website/ChannelAwesome, [[Creator/BradJones Stoned Gremlin Productions]], Creator/LindsayEllis, and Webvideo/ToddInTheShadows. |
| 229 | * Many video reviewers changed their video providers several times: Usually starting at [=YouTube=], they'd bounce to Revver, Blip, Springboard, Maker, Screenwave, Vessel, and Vidme, many, if not all, shut down as of December 2017. Doug Walker's current non-Website/YouTube host is Platform/{{Vimeo}}, after losing Blip and the latter three in a 28-month span. |
| 230 | ** Brad Jones ended up with a weird compromise: Webvideo/TheCinemaSnob started releasing his reviews of ParallelPornTitles on Pornhub to bypass how [=YouTube=] got less acceptive to even mentions of objectionable content. |
| 231 | * ''Website/TheEscapist'' was both the channel that several works hopped on and then hopped off of a few times in its existence: |
| 232 | ** ''WebAnimation/ZeroPunctuation'' started out very briefly as a series of [=YouTube=] reviews before getting picked up by ''The Escapist'' as a proper series in 2007, [[LongRunners lasting all the way until 2023]]. In late 2023, creator [[Creator/BenCroshaw Ben "Yahtzee" Croshaw]] would resign from ''The Escapist'' (for reasons mentioned below), [[CreatorDrivenSuccessor relaunching the review show]] as ''WebAnimation/FullyRamblomatic'' (which was the very original, pre-release title of the series, done [[GodDoesNotOwnThisWorld due to Yahtzee not owning the rights]] to ''Zero Punctuation'') as part of ''Second Wind''. |
| 233 | ** ''WebAnimation/ExtraCredits'' was briefly an independent series before being picked up and airing as part of ''The Escapist'', but they left following the site cutting out the funding for the series, moving back to [=YouTube=] briefly before ending up on ''Webcomic/PennyArcade's'' PATV. After that, they got their own website with their videos hosted on their [=YouTube=] channel, and now the website is mostly defunct and content is split between two [=YouTube=] channels [[https://www.youtube.com/user/ExtraCreditz ExtraCredits]] and [[https://www.youtube.com/channel/UC-7oMv6E4Uz2tF51w5Sj49w Extra Play]]. |
| 234 | ** ''WebVideo/{{Jimquisition}}'' started out on Destructoid before being syndicated by ''The Escapist''. In 2014, Jim Sterling left ''The Escapist'' as well to make their show completely ad-free by funding it through Patreon. |
| 235 | ** In November 2023, ''all'' of the site's video content producers resigned in solidarity following the sudden firing of editor-in-chief Nick Calandra. Most of them -- including ''Cold Take'' with Sebastian "Frost" Ruiz and ''In the Frame'' with Darren Mooney -- immigrated to ''Second Wind'', a newly-formed creator-owned site spearheaded by Yahtzee and Calandra as a new platform for former ''Escapist'' staff. |
| 236 | ** ''WebVideo/AdventureIsNigh'' -- an ActualPlay series involving various Escapist talent -- was left in a brief limbo following the mass resignation, with Yahtzee and Calandra going on record following Second Wind's debut that they were still negotiating obtaining the rights to the series. In December 2023, they announced that they were successful, with the series set to continue on their channel, also including their backlog (two completed seasons and an in-progress third season) set to be reuploaded on their account. |
| 237 | * Creator/RoosterTeeth [[LongRunners actually predated streaming]], but has since been on a lot of providers, such as Blip, Youtube, and their current preference (as [[ScrewedByTheLawyers the Adpocalypse]] is making Youtube less viable), VRV. |
| 238 | * Discussed in the ScriptFic ''Fanfic/CalvinAndHobbesTheSeries'': |
| 239 | -->'''Jack:''' Faster than the speed of light, eh? [[MediumAwareness When did this show move to the]] [[Creator/{{Syfy}} Sci-Fi Channel]]?[[labelnote:*]]It should be noted that the "show" is on {{Creator/Nickelodeon}}.[[/labelnote]] |
| 240 | * Seasons 1 through 5 of ''WebVideo/EpicRapBattlesOfHistory'' were produced by Maker Studios, but after Maker got fully absorbed into Disney (getting rebranded as the Disney Digital Network), ERB opted to go independent from Season 6 onwards. |
| 241 | * Fuse TV's ''[[Series/ICPTheater Insane Clown Posse Theater]]'' was intended as a web series but caught on and became part of the regular network lineup. |
| 242 | * ''Fanfic/SethInThePokecity'' originally published new episodes on Poké Town, the same website that ''Fanfic/ThePokemonSquad'' and ''Fanfic/TheLooneyScientistsShow'' are published on. As of the episode "Don't Trust the J in Apartment 23", it was moved over to Website/DeviantArt. The first four episodes are still readily available on Poké Town, though. |
| 243 | * The first season of ''WebAnimation/MetaRunner'' premiered on the mainline [[WebAnimation/Supermarioglitchy4sSuperMario64Bloopers SMG4]] channel. The remaining two seasons are exclusive to the standalone Creator/GlitchProductions channel, while a CompilationMovie of Season 1 was uploaded to the Glitch channel on its launch day. |
| 244 | * Originally ''WebAnimation/RobotboxAndCactus'' was hosted on Website/{{keentoons}}.com, along with a mirror at corporate-product.com. The latter was then moved to eatthattoast.com, where [[Webcomic/EatThatToast the webcomic of a similar name]] and ''WebAnimation/HotHamWater'' were also eventually hosted. The animated cartoons stayed on eatthattoast.com until the site changed to Website/{{Tumblr}} format to host only the comic. Meanwhile, as the keentoons subdomain expired, the main Platform/{{Keenspot}} website took up the mantle of hosting ''Robotbox'' and ''Hot Ham Water''. |
| 245 | * Some of Creator/NoonboryKedabory's fanfics (such as ''A Berry Bad Idea'', ''Fever Moon'', and ''Fanfic/NumberjacksAdvanced'', were originally posted on Website/FanFictionDotNet, but were later moved to Website/ArchiveOfOurOwn due to low numbers. |
| 246 | [[/folder]] |
| 247 | |
| 248 | [[folder:Pinball Examples]] |
| 249 | * ''Pinball/Terminator2JudgmentDay'' was released by Creator/WilliamsElectronics. The same team returned for ''Pinball/Terminator3RiseOfTheMachines'', released by Creator/SternPinball, due to Williams leaving the industry several years earlier. |
| 250 | [[/folder]] |
| 251 | |
| 252 | [[folder:Radio Examples]] |
| 253 | * In the late 1940s, Creator/{{CBS}} head William S. Paley conducted a famous "talent raid" of rival Creator/{{NBC}}, snatching away such popular shows as ''Radio/TheJackBennyProgram'', ''Amos 'n' Andy'', ''The Burns and Allen Show'', ''The Edgar Bergen and Charlie [=McCarthy=] Show'', and ''The Red Skelton Show''. The move led to CBS becoming the ratings leader in 1949, establishing a position of dominance that the network would enjoy into the television era and wouldn't relinquish until the late '70s. |
| 254 | * ''Major Bowes' Amateur Hour'' stated out as a local progam on WHN in New York in 1934, then was picked up by NBC for one season in 1935-36 before going to CBS, where it stayed until 1945. A revival under the title ''The Orignal Amateur Hour'' hosted by Ted Mack (Bowes died in 1946) aired on ABC from 1948 to 1952. Mack also hosted the TV adaptation, one of the few programs to air on all the networks in the 1950s, which was on [=DuMont=] in 1948-49, then NBC in 1949-54, then ABC in 1955-57, then NBC again in 1957-58, then CBS in 1959, then ABC again in 1960, then CBS again in 1960-70, after which it fell victim to UsefulNotes/TheRuralPurge. |
| 255 | * ''Catt's Sunday Jazz Brunch'', a local program in Mobile, Alabama began on his founded WZEW in 1984, then was moved to WMXC[[note]]Formerly WKRG-FM. It was shortly after the family of the original founder sold off both FM and AM stations to another company. Both are currently owned by [=iHeartMedia=].[[/note]] in 1994, then returned to WZEW, then moved to another station WHIL[[note]]Creator/{{NPR}} member station. Spring Hill College owned WHIL at that time, now owned by The University of Alabama under a translator of Alabama Public Radio[[/note]], then returned to WZEW again and it remained until after [[DiedDuringProduction his death]]. |
| 256 | [[/folder]] |
| 257 | |
| 258 | [[folder:Toy Examples]] |
| 259 | * WesternAnimation/{{Arthur}} has saw this happen to its toy license. The license originally belonged to Playskool, but then passed on to Eden Toys after just a short stint. When Eden Toys went defunct, it passed on to a little-known company called Crocodile Creek and has remained since. |
| 260 | * Franchise/CareBears: Originally started out on Kenner. ExecutiveMeddling involving forcing the GreenAesop down people's throat among other things [[note]]i.e. dropping some of the cousins and changing the remaining ones into bears[[/note]] caused the toys to lose popularity in the late 90s, and the license was sold to Play-Along Toys in 1999, who managed to salvage the franchise and bring it back to profitability. Then Hasbro managed to pry the license out of Play-Along's hands in late 2007. Hasbro proceeded to treat the franchise poorly [[note]]Launching a TV series only in 2012, and it took until 2013 for the toys to appear. Some also speculated that the unexpected rise of popularity in [[WesternAnimation/MyLittlePonyFriendshipIsMagic another one of their franchises]], along with its extremely vocal fanbase, was another cause of this[[/note]]. When the show wasn't renewed for a second season in 2013, it displeased American Greetings, who then revoked Hasbro's license and sold it to a company called Just Play Inc. |
| 261 | * WesternAnimation/StrawberryShortcake: Originally started out on Kenner like Care Bears, but then eventually lost steam due to neglect of the franchise. The license was sold to Bandai in the early 2000s, who like Play-Along managed to bring the series back to profitability. Then executive meddling happened and the license went from Bandai to Playmates Toys. The [[ExecutiveMeddling decision]] by Playmates to revamp the franchise [[note]]Namely, aging the girls up, deleting the established and loved fillies and replacing them with bland generic ones, and bring back the purple Pie-Man[[/note]] had a negative effect on the fanbase. Coupled with the poor availability of the toys due to distribution issues, the franchise started to collapse. The rights were then revoked and sold to Hasbro (which happened at the same time as Play-Along losing the rights to Care Bears to also Hasbro), who while initially gave the series excellent treatment, started to slide because the toys weren't moving [[note]]moving the cartoon series from Disney to Cartoon Network in Asia, Europe, and Oceania- who then proceeded to air them on CN's sister channel Boomerang instead- wasn't a smart move due to said channel being unavailable in several countries, although some speculated that like the Care Bears example above, the unexpected rise of [[WesternAnimation/MyLittlePonyFriendshipIsMagic another one of their franchises]] and its extremely vocal fandom was another cause of this. Additionally, Hasbro made an announcement that they will be purging all non-fruit-themed characters from the franchise, and proceeded to list the names of characters that have been purged -- which angered fans of Ginger Snap, Angel Cake, and Apple Dumplin' (which was ironically used as a spokeslady for selling fresh apples back in 2003). Lastly, memories of the 2003 series were still fresh in the fandom's mind (DVD releases of the 2003 series dragged on until 2012, and are in fact still available on demand from several outlets), and they want their beloved characters, pets and fillies back[[/note]]. This had a net result of the rights being revoked at around the same time as the Care Bears'. The rights was then given to an upstart called Bridge Direct, which had limited distribution coverage, before the rights settled with Moose Toys in 2021. And on a higher level, American Greetings sold the rights to Strawberry Shortcake to Iconix Brands in April 2015 (this was noticeable since all pictures posted to social networks around the time of the sale have the copyright of "SBSC" (Strawberry Shortcake Holdings, an Iconix company) instead of "TCFC" (Those Characters From Cleveland, an American Greetings company)), before Iconix sold its entertainment division, including the rights to the Strawberry Shortcake franchise, to Creator/WildBrain in 2017. |
| 262 | * ''Toys/LittlestPetShop'' was originally produced in the '90s by Creator/{{Kenner}}, then a subsidiary of Creator/{{Hasbro}}. Upon the toyline's 2005 relaunch, Hasbro itself began producing the line. In 2022, Hasbro announced [[https://kidscreen.com/2022/11/15/basic-fun-to-relaunch-hasbros-littlest-pet-shop/ it had loaned the rights to the franchise out to Basic Fun]], with a planned 2024 relaunch date, as part of a broader outsourcing initiate by Hasbro. |
| 263 | * Creator/SesameWorkshop, then the Children's Television Workshop, historically licensed the production of toys based on ''Series/SesameStreet'' and their other franchises to Fisher-Price. However, in the early 90s, they moved to Playskool. Later they switched to Tyco, before going back to Fisher-Price once their parent company Creator/{{Mattel}} acquired the company. They held onto the license for the entirety of the 2000s, before switching back to Playskool again, who retained the license until 2023, when Just Play obtained the rights. |
| 264 | * WesternAnimation/{{Popples}} were first made by Mattel in the 1980s. In 2001, Toymax got the rights to make them. Six years later, Playmates made their own line of Popples. In 2015, Spin Master made Popples plush dolls and figurines to tie in with the 2015 TV series. |
| 265 | * Puppy In My Pocket and the other In My Pocket series are a rather funny case. The toyline has always been owned by Morrison Entertainment Group (MEG), though when it came to distribution it was tossed around different companies like a game of hot potato over the years. First, Hasbro had the rights to distributing the figurines in the 90s, then it was passed to Jakks Pacific in the early 2000s after a rebrand that turned the figurines into more cartoonish-looking, cute pets with flocking. In 2010, when the show, ''WesternAnimation/PuppyInMyPocketAdventuresInPocketville'', started airing in Europe and eventually made its way to US networks in 2012, the rights were split between Giochi Preziosi, who distributed their own line among European countries (including the UK), Flair, who distributed a completely different style of figurines for the UK markets, and Jakks Pacific continued with its US distribution (the figurines being the same as Flair's), though the figurines based on the show didn't make it to US markets until 2013 due to an unfortunate delay. Then in 2015, Just Play acquired the rights to distributing the toys. |
| 266 | * [[WesternAnimation/TheAdventuresOfTeddyRuxpin Teddy Ruxpin]] was first made by Worlds of Wonder from 1985-1991. When they went bankrupt, Hasbro, under their Playskool banner, distributed the version that Worlds of Wonder had introduced three years prior (Hasbro were also the first choice to release the toy before [=WoW=], but declined). Yes! Entertainment made a version of toy in 1998, followed by Backpack Toys and Wicked Cool Toys, who currently owns the rights. |
| 267 | * Cabbage Patch Kids were first made by Coleco, then by Mattel in the late '80s until 2000. It went into the hands of Play Along Toys during the 2000s, before being taken by Wicked Cool Toys. |
| 268 | * ''Franchise/SailorMoon'' toys were first made by Bandai in North America, which then switched hands with Irwin in 1997. |
| 269 | * The US toy license for ''WesternAnimation/MiraculousLadybug'' started with Bandai, then went to Playmates Toys years later. Averted in Japan, where Bandai still makes the toys there (albeit later than the US, and at the same time the Playmates versions are being sold outside Japan). |
| 270 | * ''Marvel Legends'' was originated by the now-defunct [=ToyBiz=], before Creator/{{Hasbro}} took over the license in 2007. |
| 271 | * ''Franchise/PowerRangers'' toys were made by Bandai from 1993 to 2018, but Hasbro took over the license (and the rights to the franchise overall) when Series/PowerRangersBeastMorphers began in 2019. |
| 272 | * Toys based on the ''Franchise/DisneyPrincess'' and ''Franchise/{{Frozen}}'' franchises were held by Creator/{{Mattel}} for several years, before Disney sold the licenses to Creator/{{Hasbro}}, with their starting in 2016. [[https://www.bloomberg.com/features/2015-disney-princess-hasbro/ This article]] actually goes quite in depth on how they got their hands on the license, as well as some history involving the franchise. |
| 273 | ** It seems like Hasbro's time with the license didn't last, as the rights are going [[https://www.cnbc.com/2022/01/26/mattel-shares-jump-after-toymaker-wins-license-to-make-disney-toys.html back to Mattel]] in 2023. |
| 274 | * ''Franchise/JurassicPark'' toys went over to Mattel after the contract with Hasbro expired. They first released a set of toys for ''Film/JurassicWorldFallenKingdom''. |
| 275 | * ''[[Literature/AmericanGirlsCollection American Girl]]'' dolls were initially made by Germany-based Götz using existing molds from the company, but has since been owned and manufactured by Creator/{{Mattel}} when series creator Pleasant Rowland sold the line to the toy giant in 1998. |
| 276 | * The master toy license for ''WesternAnimation/SpongeBobSquarePants'' has switched several times: Creator/{{Mattel}} would own the rights at the height of the show's popularity in the 2000s. However, they did switch production to their Creator/FisherPrice subsidiary around the time [[WesternAnimation/TheSpongeBobSquarePantsMovie the movie]] was released. In 2009, Jakks Pacific acquired the rights to create [=SpongeBob=] toys in time for the [[MilestoneCelebration tenth anniversary]]. Another manufacturer called Just Play would acquire the license in 2014 and also produced toys for [[WesternAnimation/TheSpongeBobMovieSpongeOutOfWater the second movie]]. As of 2022, the main licensee is Alpha Toys. In addition to the standard plush toys and action figures, Alpha also produced a set of vinyl figurines based on the several [[Memes/SpongeBobSquarePants memes]] the show has spawned. |
| 277 | ** As for the fast food tie-in meal toys, the show's toys in kids' meals sold in the United States were first sold at Wendy's in 2001. A set was released annually through Burger King from 2002 to 2011. The rights shifted to UsefulNotes/McDonalds from 2012 to 2015, but only two sets were released. Sonic got the rights from 2014 to 2016 before a 4-year hiatus happened. The rights went back to Wendy's in 2020, and then went back to Burger King in 2021. |
| 278 | * ''Franchise/{{Pokemon}}'' toys were mostly distributed by Creator/{{Hasbro}} from 1998 to 2005, Jakks Pacific from 2006 to 2013, Tomy from 2013 to 2017, and Wicked Cool Toys (a division of Jazwares) since 2017. However, Tomy (under the Takara Tomy brand) and Bandai still distributes Pokémon toys in Japan. |
| 279 | * Wrestling/{{WWE}} toys were made by Creator/LJNToys from 1984-1989, by Creator/{{Hasbro}} from 1990-1996, by Jakks Pacific from 1996-2009 and by Creator/{{Mattel}} since 2010. |
| 280 | * Wrestling/{{WCW}} toys were initially made by Galoob, then the license went to Original San Francisco [=Toymakers=] (who went on to produce the original Wrestling/{{ECW}} action figures), before the license settled with Toy Biz by [=WCW=]'s end. |
| 281 | * ''Website/{{Neopets}}'' toys were initially made by [=Thinkway=] Toys, then the license went to Jakks Pacific in 2008. |
| 282 | * ''WesternAnimation/TheSimpsons'' figures started out with Mattel in the early-90s. In 1999, the license went to [=Playmates=] Toys, who released the hugely successful World of Springfield series. [=Playmates=]' license expired in 2004, and the rights briefly went to [=McFarlane=] Toys for a period before [=NECA=] released a set of figures for the 25th Anniversary in 2014-15. |
| 283 | * In 2022, Hasbro [[https://investor.hasbro.com/news-releases/news-release-details/hasbro-announces-plan-grow-profit-50-over-next-three-years announced it had begun a new strategy of licensing its brands out to partners]], which resulted in some major changes for its franchises. Hasbro licensed out the rights to ''Toys/LittlestPetShop'' to Basic Fun with a planned 2024 relaunch date, while Hasbro sold the construction toy rights for ''Franchise/{{Transformers}}'', previously under their long-dormant Kreo brand, to Creator/{{Lego}}, who released the 10302 Optimus Prime set. |
| 284 | * The ''WesternAnimation/RainbowBrite'' toy license originated with Creator/{{Mattel}}, who held it at the height of the franchise's popularity in the mid-1980s. After a long hiatus, in 1997 a small, obscure company called Up Up & Away gained the license and attempted to relaunch the franchise, but their attempt wasn't successful. In 2003, another obscure company named [=ToyPlay=] gained the license, releasing a range of toys that closely matched the original Mattel designs. In 2009, Playmates acquired the license and attempted another relaunch, which also was unsuccessful. Later on in the mid-to-late-2010s, the property's owner Hallmark released their own range of toys for the franchise, including plushies and themed Itty Bittys. In 2023, [=TLS=] Toy, a division of collectible company The Loyal Subjects, [[https://kidscreen.com/2023/04/18/the-loyal-subjects-takes-a-shine-to-rainbow-brite/ acquired the license]]. |
| 285 | [[/folder]] |
| 286 | |
| 287 | [[folder:Video Game Examples]] |
| 288 | !! By creator |
| 289 | * The current Creator/{{Atari}} company controls the pre-crash arcade game library from the original company, as well as all first-party games made for their consoles. The post-crash arcade library, which formed the nuclei of the spun-off arcade division of Atari, Inc. called Atari Games (which includes games such as ''VideoGame/{{Paperboy}}'', ''VideoGame/{{Gauntlet}}'' and ''VideoGame/PrimalRage''), was owned by Atari's former parent Warner Communications until they sold a majority interest in the company to Creator/{{Namco}} in 1984, who later sold their shares to a group of former employees the following year. Warner (who later merged with Time Inc. to form Time Warner, and is now known as [=WarnerMedia=]) retained a minority interest in the company until Creator/MidwayGames purchased it wholesale in 1996. Midway continued to use the Atari Games brand name for their games until retiring it in favor of their own brand in 1999, with ''VideoGame/SanFranciscoRush 2049'' being the last-ever arcade game published to use the Atari name. As of 2009, all of the post-crash arcade games are back at Warners as a result of the studio purchasing Midway's assets. When Atari went bankrupt again in 2013, they sold off almost all their video games to different parties. |
| 290 | * Creator/InsomniacGames were Sony-exclusive for 18 years, before hopping to Microsoft for ''VideoGame/SunsetOverdrive'', although Insomniac completely owns the right to the IP. However, Insomniac were purchased by Sony in 2019, with the rights to Sunset Overdrive being owned by its parent Sony. |
| 291 | * Zig-zagged with three [=LucasArts=] properties, ''VideoGame/GrimFandango'', ''VideoGame/DayOfTheTentacle'' and ''VideoGame/FullThrottle''. Although the remasters were developed and published by Creator/DoubleFine, Creator/{{Lucasfilm}} still owns the IP and directly oversaw all remasters. |
| 292 | * Creator/MidwayGames' in-house franchises, which include ''Franchise/MortalKombat'', ''VideoGame/{{Rampage}}'' and ''VideoGame/SpyHunter'', were transferred to Creator/WarnerBrosInteractiveEntertainment as part of the aforementioned sale, in addition to the also-aforementioned post-crash Atari arcade library. The sale came with two of Midway's studios, their flagship Chicago studio and their Seattle studio (formerly Surreal Software). The former was reincorporated as Creator/NetherrealmStudios, while the latter was absorbed into Creator/MonolithProductions. |
| 293 | * Nyu Media was a subsidiary of Capcom for 11 years since 2011, and the company once published various {{doujin|soft}} games from various Japanese doujin circles such as Edelweiss's ''VideoGame/EtherVapor Remaster'' and ''VideoGame/FairyBloomFreesia'', FLAT's and Tennen-Souzai's VideoGame/{{eXceed}} series, 773's ''Cherry Tree High'' series, and SITER SKAIN's ''VideoGame/TheTaleOfAlltynex'' trilogy after a successful Website/{{Kickstarter}} campaign. In 2022, Nyu Media eventually went out of business, and the rights to most of their backlog of games migrated to other publishers such as PLAYISM, Creator/XSeedGames, and Hatenko Doujin on July 1, however, a new publisher for the ''Cherry Tree High'' couldn't be found, thus the localized version of the series were delisted, with the entire ''[=eXceed=]'' series also getting delisted as its new publisher UPGRADE quickly dropped out of contract with Nyu Media. |
| 294 | * Creator/{{Rare}}ware used to be partially owned by Nintendo, but the British developer found themselves bought wholesale by Microsoft in the early 2000s. Rare retained ownership of all games and characters not made specifically for the ''Franchise/DonkeyKong'' franchise in the transition. |
| 295 | * ''VideoGame/LeisureSuitLarry'' began as a Creator/{{Sierra}} franchise, until it was sold to Creator/{{Codemasters}} (who picked up and released ''Box Office Bust'') after Sierra's fall due to the higher-ups at Activision not being interested in the IP. The other Sierra franchises are retained by Creator/{{Activision}}. Sierra also dropped ''VideoGame/GhostbustersTheVideoGame'' in the process, only for Creator/{{Atari}} to acquire that game a few months later. |
| 296 | * The rights to Creator/TechnosJapan's former [=IPs=] (VideoGame/KunioKun, Franchise/DoubleDragon, and VideoGame/TheCombatribes) went to a small company named Million after Technos went out of business. They mostly acted as a licensing farm for their [=IPs=], having their games developed and published by various companies (most notably Creator/{{Atlus}} during the early 2000s for the GBA versions of ''VideoGame/RiverCityRansom'' and ''VideoGame/DoubleDragon1'') until they eventually settled on Creator/ArcSystemWorks as their main publisher, who would go on to absorb Million in 2015. |
| 297 | * When the original Creator/{{THQ}} went bankrupt in 2013, they sold off many of their franchises. |
| 298 | ** Nordic Games acquired the THQ brand and most of their franchises, as the studio was rebranded Creator/{{THQ Nordic}}. |
| 299 | ** ''VideoGame/SouthParkTheStickOfTruth'' and the rights to any future ''WesternAnimation/SouthPark'' games were acquired by Creator/{{Ubisoft}}. |
| 300 | ** The video game rights to ''WesternAnimation/SpongeBobSquarePants'' and various other Creator/{{Nickelodeon}} properties went from THQ to Creator/{{Activision}} after THQ's bankruptcy. When Activision's contract expired in 2017, THQ Nordic took over publishing rights for most ''Nick''-related titles, with Creator/GameMillEntertainment occasionally publishing games since then as well. |
| 301 | ** The ''VideoGame/{{WWE}}'' game franchise moved to [[Creator/TaketwoInteractive 2K Sports]] following [=THQ=]'s bankruptcy. |
| 302 | * Creator/ValveSoftware's (retail) games used to be distributed by Sierra, until the release of The Orange Box, in which they are now distributed by [[Creator/ElectronicArts EA Games]]. Valve handles their own digital distribution, though, and EA later became a competitor in that regard. |
| 303 | * Creator/WilliamsElectronics[='=] video game division (''VideoGame/{{Defender}}'', ''VideoGame/Robotron2084'' and ''VideoGame/{{Joust}}'', among others) was traded to their then-subsidiary Midway Games in 1996 in exchange for Midway's pinball assets (which Williams specialized more on than video games) before spinning Midway off entirely two years later. Warner Bros. now owns Williams' video games as part of the Midway library. |
| 304 | |
| 305 | !!By series |
| 306 | * ''VideoGame/{{Aleste}}'' was originally a Creator/{{Compile}} series before Compile would go under. 20 years later, Creator/{{M2}} obtained the rights to the series and produced three new ''Aleste'' games: ''GG Aleste 3: Last Messiah'', ''Aleste Branch'', and ''Senjin Aleste''. They also put out a CompilationRerelease featuring four of the Compile-era games and ''[=GGA3=]'', and ported ''VideoGame/{{MUSHA}}'' to the Platform/NintendoSwitch as part of the Nintendo Switch Online Expansion Pack's Sega Genesis library (the rest of which was also ported by M2). |
| 307 | * ''VideoGame/{{Bayonetta}}'' was published by Creator/{{Sega}}. Once they cancelled the sequel, Creator/{{Nintendo}} [[NetworkToTheRescue offered to finance a]] ''VideoGame/Bayonetta2'', with Sega only remaining as a consultant. The franchise remains a Nintendo exclusive ever since. |
| 308 | * ''VideoGame/CommandAndConquer'' went from Westwood Studios to [=EA=] Games, and some were not too happy about it. It is questionable if this one counts, however, since EA bought over Westwood and proceeded to [[ExecutiveMeddling screw with it]], and when [[CreatorKiller Command and Conquer 4 tanked]], EA shut down Westwood but was reluctant to let the franchise go. |
| 309 | * ''VideoGame/CrashBandicoot'' and ''Franchise/SpyroTheDragon'' jumped from Creator/SonyComputerEntertainment to Vivendi Universal Games (later simply Vivendi Games), who later released the game through their subsidiary Sierra. The rights then went to Creator/{{Activision}} after the company was merged with Vivendi Games to form Activision Blizzard. However, Sony never owned the rights to either franchise to begin with as the IP was completely owned by Universal Interactive before being fully owned by Universal's former parent Vivendi after the latter company was split from Universal, with Universal leaving its gaming and [[Creator/UniversalMusicGroup music division]] with Vivendi following financial-issues over mismanagement under the short-lived merger. |
| 310 | * The ''Cruis'n'' series was a Midway[=/=]Creator/{{Nintendo}} co-developed franchise for most of its history. After Midway's bankruptcy, however, the rights reverted to Nintendo wholesale (though ''Cruis'n Exotica'' is co-owned by Nintendo and Midway successor Warner Bros., due to featuring original characters created by Midway). |
| 311 | * ''VideoGame/DevilEngine'' was originally published by Creator/DangenEntertainment and developed by Protoculture Games. However, due to controversies surrounding Dangen, including mistreatment of Protoculture Games's staff, the latter party cut ties with the former and now self-publish the digital editions of the game, with Poppy Works and Beep in charge of distributing the limited-print physical editions. |
| 312 | * Interesting example with the ''Franchise/FarCry'' series. The series started off with the [[VideoGame/FarCry1 first installment]] being made by Crytek Studios and Ubisoft with Crytek's proprietary [[MediaNotes/GameEngine CryEngine]]. However, after the first game, due to a deal with Creator/ElectronicArts, Crytek parted ways with Ubisoft and went on to make the ''VideoGame/{{Crysis}}'' series. Ubisoft kept the ''Far Cry'' trademark and continued the franchise, producing ''VideoGame/FarCry2'' and the very popular ''VideoGame/FarCry3''. The non-Crytek installments of the ''Far Cry'' series, as well as the ''Classic'' remake of the first game, are rendered in Ubisoft's own proprietary Dunia Engine. |
| 313 | * Infamously the case with ''Franchise/FinalFantasy''. While developed by Squaresoft (now Creator/SquareEnix), the first six installments in the series were produced and released exclusively for Nintendo consoles, along with related spinoffs and [[GaidenGame gaiden games]]. However, when developing ''VideoGame/FinalFantasyVII'', Squaresoft concluded that the CD-based technology that the Platform/PlayStation ran on benefitted the game much more than the cartridge-based technology of the Platform/Nintendo64. The result was an acrimonious breakup between Creator/{{Nintendo}} and Squaresoft that lasted for several years, while every installment from ''VII'' until ''[[VideoGame/FinalFantasyXII XII]]'' remained exclusive to Sony platforms. Then the series went {{Multiplatform}} with ''VideoGame/FinalFantasyXIII'', likely due to the poor sales of the Platform/PlayStation3 in North America compared to that of the Platform/Xbox360. As of 2020, the first twelve games are all available on various platforms, with ''VII'' finally seeing a release on a Nintendo platform in 2019 via the Platform/NintendoSwitch, and ''VideoGame/FinalFantasyVIIRemake'' only being a timed exclusive for the Platform/PlayStation4, as opposed to a full one. |
| 314 | * ''Franchise/{{Halo}}'' began development as an in-house Creator/{{Bungie}} property before the company was purchased by Microsoft, and remained in the hands of Microsoft's Creator/ThreeFourThreeIndustries after Bungie parted ways with them. |
| 315 | * Creator/IOInteractive and their ''Franchise/{{Hitman}}'' franchise was infamously put in a very precarious situation following the release of ''VideoGame/Hitman2016'', which was intended to be [[EpisodicGame released episodically]], with their first season being published by Creator/SquareEnix. However, following season 1's release and during the production of season 2, [[ScrewedByTheNetwork IOI was dropped by Square Enix]], the latter citing the game's financial underperformance as to why. IOI surprisingly managed to maintain the IP rights to ''Hitman'' during the split, and progress on the game continued under the wing of Creator/WarnerBrosInteractiveEntertainment, [[NetworkToTheRescue who allowed them to complete the game in exchange for publication rights and a revenue cut]]. Once the season 2 -- abandoning the episodic release structure in favor of being a standalone title, ''VideoGame/Hitman2'' -- was released to much greater financial success, IOI was in a much better position to release the final "season", ''VideoGame/Hitman3'' -- and in turn the collective ''VideoGame/WorldOfAssassinationTrilogy'' -- as a fully independent company. |
| 316 | * ''VideoGame/HydroThunder'' was developed and released by [[Creator/MidwayGames Midway]]. After Midway's bankruptcy, its sequel, ''VideoGame/HydroThunderHurricane'', went to indie studio Creator/VectorUnit and was an Xbox Live exclusive published by [[Creator/XboxGameStudios Microsoft Game Studios]]. |
| 317 | * Creator/TravellersTales’ [[VideoGame/LEGOAdaptationGame LEGO games]] went through a handful of publishers early on before being entirely handled by parent company WB Games since 2013: |
| 318 | ** The first ''VideoGame/LegoStarWars'' was released under Eidos in collaboration with [=LucasArts=]. (Eidos would also later publish ''[[VideoGame/{{Bionicle}} BIONICLE Heroes]]'') [=LucasArts=] would take over publication full time with ''The Original Trilogy'', which continued with ''The Complete Saga'' and ''The Clone Wars''; [=LucasArts=] also published both ''VideoGame/LegoIndianaJones'' games in between those two games. After [=LucasArts=] was shuttered in 2013, WB Games published the next two installments, ''The Force Awakens'' and ''The Skywalker Saga''. |
| 319 | ** ''VideoGame/LegoBatman'', ''VideoGame/LegoHarryPotter'', and ''VideoGame/LEGOTheLordOfTheRings'', which were already based on Warner Bros.-owned properties, were naturally published by WB Games from the get-go. WB also published handheld spin-off games based on existing LEGO playthemes. |
| 320 | ** ''LEGO VideoGame/RockBand'' was also published by WB Games, as opposed to that series’ traditional publisher at the time, Creator/ElectronicArts, since the game is already a LEGO spin-off. |
| 321 | ** ''VideoGame/LEGOPiratesOfTheCaribbean'', being based on a Disney property, was published by Disney Interactive. After Disney left the videogame market directly in 2016, the next explicitly[[labelnote:*]]The ''LEGO Marvel'' games were published by WB Games and based on a Disney-owned company, though Disney usually tends to keep their logo branding off Marvel products; however, they were credited on WB’s ''LEGO Star Wars'' games [[/labelnote]] Disney-themed LEGO game, ''VideoGame/LEGOTheIncredibles'', was published by WB Games. |
| 322 | ** ''VideoGame/LEGOCityUndercover'' was published by Nintendo when it initially debuted as a Wii U exclusive in 2013, making it the last LEGO game to date to be published by someone other than WB Games. When the game was remastered and rereleased for 8th-gen consoles, Nintendo Switch and PC in 2017, it was published by, you guessed it, WB Games. |
| 323 | * ''VideoGame/MonsterHunter'' spent five years exclusive to Sony platforms before the development team chose to release ''VideoGame/MonsterHunter3Tri'' on the Platform/{{Wii}}, due to the high cost of developing games for the Platform/PlayStation3 at the time. While ''VideoGame/MonsterHunterPortable3rd'' would be released on the Platform/PlayStationPortable and receive a port for the aforementioned [=PS3=], the next seven years of main series games were primarily released on the Platform/Nintendo3DS[[note]]''Monster Hunter 3 Ultimate'' had a Platform/WiiU port as well, though the system's lack of popularity killed the possibility of future ports to the system[[/note]]. The official logline is that they simply wanted to reach a wider audience over the Platform/PlayStationVita, with fans assuming it actually concerned them butting heads with Sony over ''Portable 3rd''[[note]]the planned localization of the [=PS3=] port had been [[NoExportForYou vetoed by Sony of America]] due to their desire to have trophies implemented and Capcom's desire to get the US Ad-Hoc Network updated so the game would have online play, a very important feature in many Western countries due to the fanbase being more spread out than in the series' native Japan[[/note]]. As of ''VideoGame/MonsterHunterWorld'' the series has gone {{Multiplatform}}. |
| 324 | * ''VideoGame/MuseDash'' was originally published by X.D. Network, but is now self-published by hasuhasu, a subsidiary of the game's developer [=PeroPeroGames=]. |
| 325 | * The ''VideoGame/NBAJam'' (along with its related spin-offs) was developed by Midway until Acclaim acquired the rights to the franchise, with Midway continuing to release NBA games under different names. After Acclaim's bankruptcy in 2004, the franchise reverted back to the NBA, who waited six years before licensing the property to EA. |
| 326 | * ''NFL Blitz'' was always a Midway franchise, but ''Blitz: The League'' got published without the UsefulNotes/NationalFootballLeague banner due to EA's exclusive licensing agreement for their ''VideoGame/MaddenNFL'' series. When Midway went bankrupt in 2009, EA bought the ''NFL Blitz'' franchise as well. Unlike the ''NBA Jam'' example above, though, Midway retained their ''NFL Blitz'' games already published and are thus now owned by Creator/WarnerBros |
| 327 | * ''VideoGame/Ready2RumbleBoxing'' and ''Ready 2 Rumble Boxing: Round 2'' were published by Midway, but ''Ready 2 Rumble: Revolution'' was published by Creator/{{Atari}} due to Midway's bankruptcy. Unlike the first two games, ''Revolution'' is a ContinuityReboot and therefore doesn't feature any of the franchise's original characters as Atari doesn't own them. |
| 328 | * The ''VideoGame/SakuraWars'' series was originally co-developed by Creator/{{Sega}} and Creator/RedEntertainment. In 2017, Sega gained ownership of every ''Sakura Wars'' project co-produced with Red shortly after ''VideoGame/SakuraWars2019'' began development. |
| 329 | * Creator/LucasArts published ''Videogame/SamAndMaxHitTheRoad'', but after a long-awaited sequel was unceremoniously canceled, Creator/TelltaleGames (itself formed by former [=LucasArts=] alumni) took over the license for their own series, ''VideoGame/SamAndMaxFreelancePolice''. When Telltale closed, a group of former developers founded Skunkape Games to acquire the rights and develop remastered versions of the games. |
| 330 | * ''VideoGame/ThemsFightinHerds'' originally had Creator/HumbleBundle as a publisher, but on December 1, 2021, [=Mane6=] ended the partnership and self-published until January 20, 2022, where they were acquired by Modus Games. |
| 331 | * The Wrestling/{{TNA}} video games went from Midway Games to [=SouthPeak=] Games after Midway's bankruptcy. |
| 332 | * Another developer case is ''Franchise/TombRaider'', which after the bad results of ''Videogame/TombRaiderAngelOfDarkness'' was shifted by publisher Eidos from Creator/CoreDesign to Creator/CrystalDynamics, which remain with the series ever since. |
| 333 | * ''VideoGame/TwilightSyndrome'' was initially developed and published by Creator/HumanEntertainment, but after the company's closure in 2000, ownership of the series was passed on to a subsidiary of Creator/SpikeChunsoft which was largely staffed by former HUMAN employees. Coincidentally, out of the sparse number of official releases for the series, ''Kinjirareta Toshi Densetsu'' is the only game to have been released for the Platform/NintendoDS rather than the Platform/PlayStation. |
| 334 | * The UsefulNotes/UltimateFightingChampionship video games were first published by Crave Entertainment, then picked up by TDK Mediactive, then Take-Two Interactive, then THQ, and finally EA. |
| 335 | * ''VideoGame/{{Wolfenstein}}'' was originally created by Muse Software, who developed ''VideoGame/CastleWolfenstein'' and ''Beyond Castle Wolfenstein''. After Muse Software was shut down in 1987, the rights to the series were purchased by id Software, who developed ''VideoGame/Wolfenstein3D''. Later games in the series were developed by Gray Matter Interactive and Raven Software, but still published by id, with Creator/{{Activision}} being its distributor. After id was acquired by [=ZeniMax=] Media in 2009, [[Creator/{{Bethesda}} Bethesda Softworks]] took over as publisher and [=MachineGames=] as developer. |
| 336 | * Creator/MonolithSoft was formed by former Creator/SquareEnix employees who had worked on ''VideoGame/{{Xenogears}}'', and was first owned by Creator/{{Namco}}. Under Namco, Monolith Soft produced the ''VideoGame/{{Xenosaga}}'' trilogy, but the low sales of the game left Namco more restrictive of the Monolith Soft's future endeavors, while the developers were in a state of low morale. Enter Creator/{{Nintendo}}, who advised Namco to allow Monolith Soft more creative freedom, influencing Monolith Soft to separate from Namco and instead become a subsidiary of Nintendo, now developing games exclusively to their platforms, most notably the ''VideoGame/{{Xenoblade|Chronicles1}}'' ''[[VideoGame/XenobladeChroniclesX Chronicles]]'' [[VideoGame/XenobladeChronicles2 series of]] [[VideoGame/XenobladeChronicles3 games]]. |
| 337 | [[/folder]] |
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