"I see the movie has finally thrown up its hands and said, 'I just don't know!'"
The lighting is so bad you can see the shadow of the boom-mike on the wall. The zippers and seams are visible on the People in Rubber Suits
. The editing looks like someone playing with the wipe feature
on Windows Movie Maker. There are times when you really start to wonder what is going wrong with a movie; in theory, they should be trying to make the best product they can.
But that's not what happens. A strange combination of the lack of money, time, expertise, enthusiasm, and simple talent
sabotages the production. This is when the production values of a work are just so far below what should be expected that you can't help but figure that "They Just Didn't Care."
The trope name can be used as a stock phrase
, something that can be applied to a wide variety of issues. Examples for this trope are all about the production values. It is possible to "Just Not Care" in regards to other aspects of making a story, but we have another set of tropes for that.
Compare The Problem with Licensed Games
, Video Game Movies Suck
, Fanon Discontinuity
, Cowboy Bebop at His Computer
, and Dub-Induced Plot Hole
. Consider also They Changed It, Now It Sucks
; Fan Dumb
; and Unpleasable Fanbase
, though, and be aware that every opinion on this site was written by some person you don't even know.
Also worth remembering is that while the quality of any work given as an example has likely suffered horribly from its makers' apathy, this apathy itself is not necessarily all bad
. As many an artist and writer can testify, any work for which the publisher's editors and executives have a complete lack of concern can be an opportunity for the creator to put whatever he or she wants in it, as their superiors' apathy provides a kind of de facto Protection from Editors
. From a business perspective, some works simply have no target audience
, or sometimes the concept underlying them is just so bad
that no one should ever have approved any budget or other resources for its creation in the first place. When such an abomination makes its way down to the production crew, sympathetic souls in middle management will often warn everyone involved
not to waste too much talent or money making it. On the critics' end, works for which even the creators showed no concern can have some Narm Charm
, be So Bad, It's Good
, or at least inspire some Bile Fascination
The Trope Namer
is a repeated phrase during the segment of Mystery Science Theater 3000
Episode 418 - Attack of the The Eye Creatures
(sic) (as seen in the Trope Image), where Joel and the Bots give a point-by-point presentation
to prove that the makers of the movie had little concern for the quality of the film. This includes forgetting to adjust the camera to shoot day for night properly, giant zippers running up the back of the costumes for the People in Rubber Suits
, and after running out of monster suits and monster boots, using the excess actors stomping around in their monster masks, black wool sweaters, and sneakers. And the fact that it's called Attack of The The Eye Creatures
Contrast Shown Their Work
and Doing It for the Art
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Anime and Manga
- Take a bunch of obvious-ripoff Korean animated films you've bought up. Chop them into bits and reassemble in an only barely coherent order. Add terrible dubbing over the top. You now have Space Thunder Kids.
- Everything about All-Star Batman & Robin, the Boy Wonder shows that Frank Miller just stopped caring about anything that made Batman good. All of the heroes are turned into complete sociopaths and nothing about the plot or writing makes sense. It doesn't help that new issues were published so erratically that only one came out in the comic's second year. As a "bonus," it also shows Frank Miller stopped caring about his own continuity. According to him, all of his Batman stories coexist in the same universe/continuity. While the events of the comic would definitely explain why Robin hates Batman so much he turns into a villain in The Dark Knight Strikes Again, there's no way, as Linkara pointed out, that Gordon would allow such a despicable person as this Batman to roam around carefree.
- Supposedly, Miller was showing that Batman without a Robin was going dangerously crazy, and Grayson's influence would help him stay sane. It's there, but hard to spot behind every other jarring thing in the book.
- While the writing may be subject to debate, some of the artwork in Archie Comics' Sonic the Hedgehog shows that whoever was in charge couldn't really give a dang, with issue 113 and the main story of Sonic Super Special issue 15 being so poorly done artwise that one has to wonder how they even got published in the first place. (Both issues were illustrated by "Many Hands", presumably a pseudonym.) SSS 15 in particular was so notorious for the "quality" of its art, most of which consisted of a snowy texture or black panels, that a completely redrawn and rewritten version was released for Free Comic Book Day 2011 in a move that could only be an apology. And then there was a issue in the Sonic Quest miniseries in which they forgot to remove one of the notes left by the artist to the colorist, so there's a hand-written line outside of a panel that reads "REMOVE RED LINE'S" in one of the pages. It has to be seen to be believed.
- Reginald Hudlin's tenure as head writer of Black Panther is full of this. Hudlin's Panther is so different from everything that came before, and ignores so much of his previous adventures and characterization, it would have fit better in Ultimate Marvel as opposed to the main 616-verse.
- Panther's supporting cast, one of the best in recent comic book history - gone, or changed beyond recognition. Goodbye Queen Divine Justice, Monica Lynne, Hunter, goodbye Everett Ross' personality, goodbye Kasper Cole. Black Panther's backstory? Butchered. So he wasn't the real Black Panther all those years? All he has to do to become Black Panther is win a wrestling match? No spiritual communion with the Panther god through the heart-shaped herb... just a knock down fight? Where the hell did his younger sister come from?
- The 1960s-era Doctor Who Expanded Universe media fell into this, due to being squarely aimed at children and churned out by people who basically did not care about the series. For instance, the Doctor's name is usually given as Dr. Who, the stories are usually poorly-written, out-of-character and Lighter and Softer to an extent that they cease to have anything to do with the show, and Captain Ersatz is used a lot. On the bright side, this is occasionally magnificent in its oddness (the first Dalek annual gives Susan a Dalek love interest, for starters) and there's enough nostalgia for it that the 2006 new-series annual contained a pastiche of the dreadful short stories, and there was an Eighth Doctor Deconstructive Parody comic dealing with the boring comics grandchildren and the hilarious knockoff Daleks used in the stories.
- One upsettingly lazy habit that carried on until the mid-to-late 70s was the practice of reprinting old Doctor Who comics, with the belief they would be new to the children viewing them, with the image of the Doctor redrawn to look like whichever was the Doctor at the time. Since the first four Doctors had very diverse personalities, this led to things like characters commenting on an unusually severe Fourth Doctor's dandyish fashion sense, or a peculiarly carefree Third Doctor tootling distractedly on his recorder. And they often only edited the faces, leaving the Doctor dressed inappropriately. And the edits were bad—sometimes little more than just recolouring the Third Doctor's hair black. You can see a comparison here◊ of how a Second Doctor comic was butchered into a Fourth Doctor one.
- The characterisation in the comics is questionable at best, because the writers lacked the subtlety to distinguish between the Doctor's trademark irascible sarcasm and outright unlikeable Jerkass behaviour. One Fourth Doctor strip starts with the TARDIS being suddenly transported away. Sarah Jane—one would think reasonably—asks where they are. The Doctor responds "Any more of your infernal journalistic questions and I will personally brain you myself." Not only is this a bit strong even for a joke, the nastiest thing the Fourth Doctor ever jokingly threatened Sarah with on television was affectionately biting her on the nose.
- At least one annual strip clearly used reference photos of Tom Baker out of costume and makeup for its depiction of the Doctor—no scarf, a neat modern suit, long hair brushed and combed back instead of worn in a huge round curly frizz...
- Later Fourth Doctor annuals would print stories about Sarah Jane and Harry years and years after the characters left the show. Sometimes they would even run stories with a good representation of Leela's actress, but dressed in Sarah's style and the Doctor would call her Sarah. Leela was also forced to dress in modern-day jeans and jumper in the TV Comics strips because her usual leather micro-mini was considered a bit too racy.
- The poor quality of these strips was part of the reason why Doctor Who Magazine started.
- Blatantly obvious with the cover of the first issue of The Ravagers from the New 52 reboot. Why? Because two of the characters' names are switched on the cover, making Thunder into Lightning and vice versa. If you for some reason decide to read the series, there are some epic grammar (apparently commas go anywhere and Howard Mackie has no idea how to use ellipses) and spelling problems (an arena is referred to as The Pit and The Pitt within the same panel). All of this should tell you how little the editors care about this series, when the cover is already lazy, never mind individual panels being screwed up. Of course, this series spun out of Teen Titans, where Terra (blonde) was constantly a random brunette woman given Terra's speech bubbles even though Terra was in the same panels. It makes one wonder why they even started this series if nobody was bothered to even try.
- The first year's worth of the original Gold Key Star Trek comic books, done by people in Europe who never saw the show yet were hired to draw and write the book. One horrific example has some guy named Captain "Kurt".
- There were also the Power Records comic book/record sets, one of which featured a white Uhura and a black Sulu, complete with a fabulous 'fro. They were recognizably drawn based on the actors, but then altered in the coloring phase. This wasn't so much lack of research as lack of clearance for the actors' likenesses, something which famously got them into trouble with Leonard Nimoy.
- Marvel Comics's Star Wars Legends Epic Collections reprint the various comics produced by Dark Horse Comics. One would think this would be a good opportunity for new readers to jump in. Each volume collects stories that take place at roughly the same point in time, but they don't seem to care about the order of the volumes themselves. One of the first volumes to be published deals with the aftermath of Return of the Jedi and the much less prominent Shadows of the Empire; another one takes place right after the formation of the Galactic Empire and opens with the conclusion of Sagoro Autem's story arc that had begun during the Separatist Crisis. In both cases, the previous parts remain out of print for the time being – one would think a company like Marvel was familiar with Continuity Lock-Out by now …
- When Jeph Loeb started writing for Ultimate Marvel, fans noticed some odd continuity errors cropping up. The Wasp, an Asian in the Ultimate Universe, suddenly turned white like her mainstream counterpart. Meanwhile, Ultimate Pyro, who was a hero instead of a villain like the 616 universe's Pyro, and the duo of Forge and Longshot, heroes in the standard universe but villains in Ultimate Marvel, suddenly switched sides with nary a Hand Wave as to why. Pyro even wanted to rape a knocked-out superheroine, and lost the horrible scars that had been his most striking feature in Ultimate X-Men. Nobody knows exactly what went through Loeb's head, of course, but the most popular explanation is also the simplest - he didn't bother reading their appearances in other books before he wrote his own. The Ultimate Universe in general is plagued by this trope, apparently being seen as the branch of Marvel where continuity doesn't matter. One of the first Ultimate books was Ultimate Marvel Team-Up, which ostensibly existed to create Ultimate versions of characters who didn't have their own books. Unfortunately, those versions were roundly ignored as soon as someone felt like using those characters in a different book. They included Ultimate versions of the Hulk, the Black Widow, and the Fantastic Four that bore far more resemblance to their 616 counterparts than to what would later become the canon Ultimate versions.
- Still, Loeb pales in comparison with prominent Ultimate writer Brian Michael Bendis, who has a tendency to blatantly contradict previous stories, even those written by himself.
- Jeph Loeb ran into this during his run on Hulk as well, shifting gears almost completely from the well-received Planet Hulk and World War Hulk runs and having a lot of characters act completely out of character. Not to mention Red Hulk. Greg Pak ended up straightening everything out, but it's hard to say if Loeb had a plan going in or not.
- The "final" death of Sabretooth, written by Loeb, was mostly used to introduce Romulus out of nowhere and ended with Wolverine putting a feral Sabretooth out of his misery like a sick animal. It wasn't well-received. Fortunately Creed recovered nicely in all respects.
- Minor case in Avengers: X-Sanction, where Loeb uses a Lethal Legion that includes one member who was dead at the time and another who'd been reformed for years.
- In Jason Aaron's run on Wolverine, he had the demonically-possessed title character stab Colossus, drawing blood. Apparently he missed the memo that Colossus can turn his entire body into organic steel, not just his skin.
- Charlton Comics' humor line was rife with horrible continuity and questionable art. In an issue of Scooby-Doo (which they acquired after the rights to Gold Key lapsed), Freddy is identified as Mark (a character from Speed Buggy).
- For a positive example: early in his career, Steve Ditko spent a lot of time writing and drawing comics for Charlton and other low-budget DC imitators. While this meant the comics rarely had much of an audience and were only intermittently readable, it also meant his editors and publishers didn't much care whether he was doing comics the "right" way, so he was pretty much free from Executive Meddling and could be as inventive as he liked. This would later make him the artist and writer who made Spider-Man and Doctor Strange the entertainingly offbeat characters that they were.
- One of these smaller firms was Atlas, later known as Marvel, for which Ditko started to work in 1955 (two years after his first work for Charlton), soon in partnership with writer and editor Stan Lee.
- When Count Logan's origins are revealed in The End of Ends, it turns out to be Beast Boy's sobstory told in the beginning of the story reused with some words added. And when we mean reused, we mean there's a Freeze-Frame Bonus where one can notice the additional words.
- In an in-universe example, the Lemony Narrator of Equestria: A History Revealed, who is supposedly writing the whole thing, has a very lax approach to essay writing, getting drunk towards the beginning of Chapter 3, not wanting to write any more praise for Princess Celestia, and instead, inserting her self-authored haikus in their place, and literally admitting to lying to her professor and cursing him in-text (while simultaneously submitting it in to him later for marking).
- Jackie Diaz's Avatar: The Last Airbender fancomic How I Became Yours. Most of her art is directly copied from either the art of the show, anime, or even photographs. She also copies poses over panels, making her characters often look like they'd been replaced by cardboard cutouts (Toph very noticeably has some variation (mouth opening, so on) of only one expression pretty much throughout the comic). The backgrounds are mostly photographs, real live cosplayers and geishas are background extras at a party, Katara wears the Hall Sapphire necklace, a bowl of fruit is very obviously a photograph, and often her laziness results in some creepy/hilarious looks for her characters.
- An admitted case with My Little Unicorn. The author pretty much states that he doesn't care about the originality of the fic and doesn't bother with characterization.
Films — Animated
- The Spanish animated film Daddy, I'm a Zombie. First of all, the cover shows a pirate zombie and a zombie wearing a pumpkin as a mask both standing in the same place, the problem with that being they're the same character! Second, the heroine's father has a saying that goes "You attract what you put out, like a magnet" which anyone who took 3rd grade science will tell you is wrong! Lastly, the goth girl heroine is mocked for wearing nothing but black, even though she wears mostly purple and hardly any black.
- The DVD release of Doug's 1st Movie. It was released in 2012, thirteen years after the video was released (despite Disney being in the DVD market in 1999) as a Disney Movie Club exclusive, with a bad, VHS-quality transfer and no special features (despite the video having a behind-the-scenes feature at the end). To make it worse, Disney used the Toon Disney edit of the movie, which featured fade in/fade outs in the middle of the movie for commercials, some sped-up animation of certain scenes, and the entire credit sequence was sped up and only half of the first song was heard.
- Felix the Cat: The Movie: It would explain why the plot is such a mess, the numerous animation goofs that they didn't correct, and why they didn't even bother to release it into theaters until a year after it was "finished".
- Food Fight: With a budget of 45 million dollars, they put no effort in the animation. Somewhat justified because the hard drives containing the movie were stolen in 2002, and a lot of the money had been spent at that point.
- The Magic Voyage: By the time the fairy plot comes in, you wonder if the makers even knew who Columbus was.
- After The Thief and the Cobbler, Richard Williams' labor of love, was taken from his hands due to lack of funding, it was passed on to Majestic Films International, who hopefully would finish it cheaply enough to turn a profit. The results included Lull Destruction, uninspired animated film clichés, narration that describes exactly what we are seeing, bland Award Bait Songs and very Off Model animation. Then it was released with minimal marketing and a low number of prints in an attempt to avoid spending any more money on it. Animation fans consider this a tragedy. Poor Richard Williams was so unhappy with the tragic fate of his magnum opus that he refuses to speak of the movie or acknowledge its existence. Another version of the film (called the "Recobbled Cut") was later released featuring much of the unfinished and unpolished content Williams originally intended for the film, which despite not being completed still makes the film vastly superior to what we got on the original rushed release.
- Titanic: The Legend Goes On recounts the real events of the ship's sinking, with a love story seemingly ripped from a more famous film, a bumbling detective story, the infamous rapping dog, and everyone living happily ever after, all told with the best animation $20 can buy.
Films — Live-Action
- Atlanta Nights. Despite being written by several authors and editors the book manages to have an incoherent Kudzu Plot, bad editing, prose which alternates between the purple and beige varieties, duplicated chapters and horrific dialogue. But it is ultimately a subversion as the authors did it to prove that Vanity Press Publish America will publish anything. See the article for details.
- Inheritance Cycle. No, the author himself put his all into his series. In this case it was the editor who was lazy. Aside from making sure that nothing was misspelled there are tons of minor and major continuity mistakes, Purple Prose abound, and somehow didn't notice that a sentence containing the words "descended upwards" doesn't make any sense.
- The publishing company that picked up the series. Basically the CEO gave his kid a copy of the book, the kid said it was "the best book he’d ever read, that was written by a young adult" and instantly published the book as-is (and made sure it was released before the latest Harry Potter book).
- I Still Know What You Did Last Summer had a novelization; "novelization" meaning the writers just ran off a bunch of exact copies of the script, slapped a price tag on them, and sold them as novelizations. Which is worse when you consider the first film was based off a book.
- Mass Effect: Deception is the fourth Mass Effect novel, written by William C. Dietz. Despite not being part of the Bioware team, Dietz was contracted to write Deception. What resulted was a book filled to the brim with poor characterization, numerous plot holes, terribly childish writing, and dozens upon dozens of contradictions to a well-established and consistent lore, all of which the previous novels avoided entirely. Mass Effect fans compiled a list of the vast amount of mistakes (99 at last count), and BioWare has since essentially declared Deception non-canon.
- The Doctor Who Target Novelisations occasionally fall into this, because they were written by a variety of different writers on extremely tight deadlines trying to achieve different things. Sometimes, you can get a brilliant Adaptation Expansion of a feeble storyline with an entertaining prose style, or a gripping page-turner of one of your favourites, or a writer executing what he wished he'd been able to execute on television, or at least something so weird and dark that you can wonder how on Earth this got published. Or, if you're unlucky, you get borderline unreadable prose bashed out by someone who's figured out that taking a script and adding 'the Doctor said' nets them a ton of easy money.
- As pointed out by Cracked.com: Though simplifying or misunderstanding computer technology is common in fiction, NCIS may be the first show to misrepresent how keyboards work, having two characters use a computer simultaneously by each hammering away at half of one. Considering at least one keyboard was probably utilized in creating the script, apathy becomes much likelier than the writers genuinely not understanding the very devices they were using to write. Then again, in the same show, a character looks at a computer monitor to make a guess at the number of cores in the processor, and in the same episode, a character is described as having the "the high score in virtually every massively multiplayer online role-playing game", a feat that would be unachievable in a human lifetime if most MMORPGs even had high score tables.
- Near the end of the third season of Alias, the official recaps posted by ABC.com began including scenes that were cut prior to airing, such as the reveal that Vaughn had been brainwashed by Lauren and shots of some CIA papers that the truth about Syd's life. The show had a ridiculous amounts of dropped plots and other weird stuff at various points, but the sloppiness over the course of these few episodes really made it look like they just didn't care.
- Oh, and then about half a season later, there was a two part episode where Sark went from knowing that Vaughn killed Lauren in the first half to "learning" it in the second half and being shocked by the information.
- The contributors to Ancient Aliens not only employ huge doses of Insane Troll Logic, they apply said logic to demonstrably false evidence and assumptions. The show doesn't bother to fact-check any of it. This show airs on The History Channel, by the way.
- The production values of the Horatio Hornblower telefilms took a nosedive in the third series. The first series was filmed on actual ships, which looked awesome, but of course it was rather expensive. So the second series did away with that, but it still looked pretty good. Not so in the third—to denote snow at sea, they just painted the ship sets white (and left paint drips clearly visible in open gunports) and used some highly Conspicuous CGI for weather and the huge explosions.
- One example that straddles the line between They Just Didn't Care and Screwed by the Network is Power Rangers Wild Force. The series was being produced when the franchise was bought by Disney, so the former people in charge were gone, the new people in charge had no clue what they were doing, and the left hand didn't know what the right was doing. This caused Wild Force to be considered by the majority of fans the worst season ever. What parts that weren't directly lifted from the Sentai source material were flimsy, there was no direction, the acting was bad even by PR standards, and the writers gave the Zords more characterization than the Rangers.
- The head writer for the series was a Promoted Fanboy, so you'd expect him to care a bit more. Turns out he cared most about putting his own fan work into continuity with the whole series...
- On the other hand, Wild Force started to look a lot better once Ranger fans saw what Disney was doing to the series. They didn't outright hate the series, but Power Rangers RPM's producer said they did seem ashamed of it. (It should be noted that Disney never wanted the series, they wanted to buy the Fox Family Channel, and Power Rangers just kind of came with the deal somehow.) The violence of the show didn't work well with Disney's ultra-wholesome image, so they weren't really sure what to do with it, gave it very little promotion, and essentially left it to wither away.
- When it was expected that Power Rangers RPM was to be the final series, the creators put out all the stops to make sure the franchise would end with a bang. It probably would've had the same effect In Space had in saving the franchise... had the TV networks not put it on five o'clock on Saturday mornings. Who is up at that time? Oh well, at least now Saban bought back the franchise...
- Of course, RPM is a positive case of They Just Didn't Care. Disney point-blank told the producer, "The show is ending, do what you want," which led to the creators to just swing for the fences. It didn't work to save the show (at least in Disney's eyes), but it did become one of the best Rangers seasons so far.
- Super Megaforce has taken "not caring" to a whole new level, by including Super Sentai suits not adapted into Power Rangers, and giving next-to-no explanation of who and what they are. Particularly odd in that there ARE several unadapted Sentai suits that they DO go through the trouble of editing out (One episode leaves Yellow Mask and Pink Flash in, but edits out several other suits), making you wonder why they even left the other ones in.
- In the second season finale of Robin Hood, Maid Marian was brutally murdered by Guy of Gisborne in a move that writer/creator Dominic Mingella described as an attempt to "rock the show" and "open up new storytelling possibilities." Translation: shock value. Interestingly enough, Mingella didn't stick around for the third season, being credited as a "creator" but contributing nothing to the script-writing or directing. The BBC obviously realised that the show had self-destructed, which led to a general attitude of "We Don't Care Anymore" for the broadcasting of the third season. There was very little publicity regarding the show (far less than previous seasons), the official website wasn't updated until a few days before the premiere, a "closed-mouth" policy seemed to be in place on the reasons behind Marian's death, it was given a terrible time-slot, detailed plot synopses were released to the press which contained massive spoilers, and the premature release of the DVD box set ensured that the final episode was leaked on YouTube a good three days before it aired on television (not that many people saw it on television anyway: The BBC pulled it in favour of tennis and plonked it on a different channel only a few hours before it was scheduled to air). The icing on the cake is the poor build quality of the DVD boxset, which along with the minimal amount of extras further emphasises that series 3 was only shown at all just to get it over and done with; it's quite possible yours has fallen apart on the shelf.
- Furthermore, the new batch of writers brought in for the third season clearly didn't bother to watch the previous seasons. Fan speculation is that they were simply handed a note that said "Marian got killed", since this is the only major plot-line that is carried over from the past two seasons (and even that is more of an afterthought than any kind of sustained story-line).
- ABC's short-lived game show Set For Life omitted the qualifying rounds that determined how much each contestant would be playing for in the rest of the game — resulting in a lame Deal or No Deal knockoff with arbitrary cash values.
- The network that currently shows Top Gear in Australia has an editing policy that is best described as 'schizophrenic'. For the past few seasons, after the airing of the Australian version of the show (which may just be a coincidence), the British version has received numerous cuts to their airings. The thing is, there doesn't seem to be any definite logic or pattern to their cuts. They cut out the news most consistently, but have left it in on occasion, and have also at various times cut the Stig's power laps, the Star in a Reasonably-Priced Car, and the Cool Wall (the last is particularly noticeable in the season 13 finale - when suddenly Hammond was stuck on top of a scissor lift at the end of the show for no apparent reason). Strangely, it doesn't seem they even have time constraints or advertisements to blame - entire episodes have been cut.
- Ditto the American broadcast, cut for time and commercials. Many of the cuts described above have happened, sometimes they only have half of the SIARPC (a particularly baffling example was cutting an anti-drunk driving PSA shown during one), and BBC America refuses to acknowledge that the first Stig ever existed. Most cuts, however, are to to cultural/political jokes or references that would be lost on American viewers.
- Documentary series Wild West Tech includes some lackluster reenactments. The worst are the scenes where the actors are exchanging money. They are clearly using modern notes despite the fact that the scenes are set in the Old West. What puts this example over the top is that the same episode included a CG rendering of money appropriate to the era. They obviously had an example of period money, but just didn't care enough to click "Print."
- An infamous case: when The Wire was picked up for syndicated airings by BET, many episodes were cut or streamlined to fit into an hour-long-with-commercials block. However, that wasn't the only issue - due to the perceived notion that the only thing that was interesting about the show were the scenes with the African-American characters, major chunks of episodes (mostly focusing on McNulty and Caucasian characters) were cut completely, thereby destroying most of the plot and overarching storyline. Nearly the entire "Docks" storyline was cut out of the second season, leaving some episodes with just the B-plots.
- When Fox doesn't care, they really don't care — not only did they cancel the much-loved Wonderfalls and Firefly ahead of their time(s), but they aired their respective episodes out of order, leading to confusion and a lack of continuity.
- Networks will usually air a series out of order if they plan to cancel it. Confusing the viewers into frustration is a near fool-proof plan to bring down ratings. For the record, the exact same thing was done with the original run of Invader ZIM
- Doctor Who:
- The BBC throwing out large quantities of tapes of the black-and-white Doctor Who episodes, causing most of Patrick Troughton's and a big chunk of William Hartnell's era, as well as several of Jon Pertwee's episodes, to be lost forever.
- The Daleks were intended as one-shot villains but were intensely popular with children and brought back as a result. While almost no-one complains about the Retcon, it takes a special lack of respect for continuity when you're blatantly contradicting your own backstory for the monsters in the second appearance of them - how could a spacefaring species still be at a deadlock in a war against low-tech arable farming pacifists, and be unable to leave their city due to requiring power from the floor and yet happily trundle around London? These differences are Hand Waved with Anachronic Order. Their motivation for invading the Earth is similarly flimsy (they want to hollow it out and fit it with a motor so they can drive it around space, as you do). On the bright side, Terry Nation was well aware that everyone was Just Here For Daleks and totally ignoring all continuity gave the Daleks the flexibility they needed to become recurring villains.
- "The Dominators" was an unpopular script, the last thing in a production block before the producer changed, and was heavily edited down to a five-parter, as well as to have some of its more disagreeable didactic messages softened up. On top of that, the monsters had to be played by children in suits due to the costumes being really small. Everyone wanted to get it over with as soon as possible and it shows. Troughton is clowning around slightly desperately in the Ham and Cheese end of his range; the corners of Matte Painting rooms are clearly visible; bouncing Styrofoam Rocks are omnipresent; some WTH Casting happens when a character who is written as a young upstart is played by a balding man in his 40s; the costumes are basically dresses made out of curtains; Troughton's double's face can be seen on screen in close-up; and it kicks off with an amazingly bad shot in the first episode where you can see right all the way to the back inside the TARDIS prop and it is exactly the same size as you would expect it to be.
- During the Graham Williams era, while everyone at the top of the show's food chain really cared and were doing their best, that did not extend to lower-down production assistants (this was during a period in the UK when strikes were constantly disrupting labour forces, and television was no exception). A great example of when it shows is "The Power of Kroll": the producer had got the show's best writer to do a story about the biggest yet monster in a planned Spectacle story, and some brilliant Miniature Effects of the monster were recorded... but in post production, they decided that instead of the probably planned method of inserting the monster into the footage (using CSO to remove the sky) they would just cut the footage out with a straight line at the horizon, meaning that the scenery and the tops of peoples' heads would disappear whenever the monster appeared. It would have looked great, but due to half-arsed execution became probably the worst Special Effect Failure in the show's history.
- The Fourth Doctor in Season 18, due to Creator Breakdown, is mostly a sickly, barely in-character Tom Baker reading his lines with a flat expression, looking at his co-stars with naked contempt and obviously wishing he could go home. Except for "Meglos", oddly.
- "Release the Myrka!" Words to chill the blood of any Whovian. Reportedly, this was the story which convinced the BBC's Michael Grade to slash the show's budget (once he saw where it was being spent). The lighting is turned way, way up in every scene to conform to archaic BBC practices; the Myrka costume is an unfinished pantomime horse, glistening with still-wet paint; the star is tossed into a freezing cold water tank after being assured that the pool was warm; the plot sort of meanders, until the clock runs out and Eric Saward kills everybody to spare himself the trouble of writing them out of it (as was his habit); the actors plainly lack faith in this production, waddling to their marks and 'dying' with all the flair of a dead halibut. It really is like watching a fourth grade play.note
- By the end of the Seventh Doctor's tenure, the mood that management had about the series was "Just die already!". This had both positive and negative effects:
- Positive: Due to a decision to make the show Lighter and Softer to an extreme degree and as part of the attempts to kill it, veteran character actors who auditioned got turned down for being 'too dark' and a poorly-known children's entertainer was cast as the Doctor with the assumption he'd be awful at it. Fortunately, while his lack of a conventional acting background is apparent, his portrayal was much better than anyone expected once the writers were giving him the real material he wanted - the executives may have not cared but McCoy definitely did.
- Negative: Due to the show being aggressively starved of money to some of the worst No Budget extremes the show has ever had to contend with, the production values on "The Happiness Patrol" are particularly atrocious, with a forced-happiness police state Crapsaccharine World that really needed some creative sets represented by a sound stage with some balloons attached. The actor inside the gumdrop robot costume was clearly visible through its face mask. It was so bad McCoy even asked for it to be made into a Noir Episode and shot in black and white, but the executives said no.
- Positive: John Nathan-Turner no longer cared what anyone did with the show because he knew it was a lost cause and simply wanted to get out by that point. After the dreadful first season with McCoy, he stopped trying to enforce the tone as 'frothy' and gave the maverick script editor carte blanche to do whatever he wanted. While it wasn't enough to save the show, fans praise the sudden injection of political satire, Character Development, and darkly witty and adult writing into what Executive Meddling had previously been trying to turn into a shallow show aimed at very young children.
- The horrible Region Coding mix-up on the TV Movie that led to everyone, British and American, getting it with a 4% speedup, messing up the timing and causing Vocal Dissonance as it makes Paul McGann's voice noticeably higher-pitched than the lovely deep voice he uses for the Eighth Doctor in the audio dramas.
- We're starting to border on Arson, Murder, and Jaywalking here, but The Merch in the early days was rather weird and inaccurate - "Dr. Who's Anti Dalek guns", the "TARDIS Tuner" (a little FM radio), Off Model Dalek action figures (used as Miniature Effects and Off-the-Shelf FX in the show itself), Fourth Doctor and Leela action figures that bear no resemblance to the actors whatsoever, and so on. However, in some cases, this is So Cool It's Awesome via Narm Charm - a sticker set showing Hartnell-era monsters which never met on screen battling each other (like Menoptera fighting Daleks or Zarbi versus Mechanoids) comes to mind, as does the 1978 jigsaw sets of the Fourth Doctor's monsters which depicted several instances of the one-of-a-kind and Earthbound K-1 Humongous Mecha (from "Robot") firing laser guns on an alien world, which inspired the Big Finish audio "The Relics of Jegg-Sau" ("jigsaw").
- The DVD release of ALF contains the syndicated episodes, which cut many scenes. In some episodes, such as the Season 1 episode "Wild Thing", the closing credits include a scene that was cut from the DVD. Even worse, the episode makes absolutely no sense with that scene removed.
- In Early Edition, it is established early on that Lucious Snow died sometime in the fall of 1996. However, there were 2 episodes ("Deadline" from Season 3, and "Time" from Season 4) where Lucious Snow's grave was shown (clearly 2 different graves), both showing that he died in 1995. When the producers were asked about it, they openly admitted that they didn't think anybody would notice.
- Cassette tapes. While better quality tapes can be near as good as CDs with proper noise reduction technologies, publishers usually sold the cheapest possible tapes, the later publications even had mechanical problems (either rams the tape or triggers the player's auto-stop mechanism) and lacked any noise reduction methods. Other factor was the non-caring and lazy customer, who never ever pushed the Dolby NR switch on his/her player if it had any. Another one was the price of a proper player instead of a boombox or a Walkman. Many cheap tapes didn't even have proper liner notes, so buyers had no idea who wrote the songs, played on them, or produced them.
- This was especially prevalent if you ordered from BMG or Columbia House (or any music warehouse that advertised in the 80s and 90s with those "12 for a penny!" scams, er, "deals"). Liner notes and lyrics would be left off, and the tapes themselves seemed to be of inferior quality. Strangely, the CDs were generally indistinguishable from the regular commercial releases.
- Nearly all CDs and Digital Downloads from the late 1990s onward are mastered to be as loud as possible with relatively little regard for sound quality. The fact that so much of the signal is being limited by the digital full scale causes side effects such as distortion and reduction of detail, clarity and dynamic impact. Given how nonexistent discs that anywhere near resemble what you could find in the '80s and '90s are, it's clear that the entire music industry Just Doesn't Care.
- To an extent this was the case with early CDs, which often failed to accurately reflect the warmth of the original vinyl recordings. Record players would amplify bass frequencies that CD players couldn't. A lot of early CDs were also missing artwork from the original LPs. Certain audiophiles like the earliest CDs possible, but even they have to admit that they didn't always get it right (copy tapes equalised for cassette were often used, for example). CDs soon reached their pinnacle by the mid 80s to early 90s, before the loudness war set in.
- The vinyl format is popular with audiophiles and always has been, but there were times when the record industry Just Didn't Care about vinyl either. A lot of LPs in The Seventies and The Eighties issued by major labels were made from recycled vinyl, thin vinyl or mastered from lower quality tapes. This wasn't the case in Germany or Japan where Virgin vinyl was almost always used, hence releases from those territories usually have better sound quality than those released in the US.
- At Wrestlemania XX, a truly Godawful match between Goldberg and Brock Lesnar occurred. Goldberg and Lesnar were, at the time, two of the biggest names in the WWE. However, both were also leaving the company, and thought they could phone in their last match, so instead of a great battle, the fans got a slow-paced, boring match.
- There's been a lot of discussion on why that match was so bad. The fans had started booing both men vociferously before the match even started, so neither likely felt inspired to perform. It's also been claimed that the WWE match planners deliberately designed the match to be as boring and shitty as possible in an attempt to sabotage their careers. Also, Steve Austin, who was more popular than either of them, was involved in the match as a referee because he wasn't in physical condition to work a match, but this irritated Austin fans who wanted to see him do stuff.
- A large part of the problem (tied in with the Austin thing above) was that Goldberg hadn't been on TV for a month prior to the PPV (Real Life contract dispute, kayfabe suspension), which shot the build up to the match (which, up until this point, had been some of the best build up of any feud going that year) in the foot. This left Austin and Lesnar carrying the feud, making it more about Austin and Lesnar than Goldberg and Lesnar. Hell, it was more about Austin vs Goldberg (a long-wished dream match) than Goldberg vs Lesnar, leaving the whole thing dead in the water.
- WCW itself at the twilight of the Monday Night Wars. The management of the owning company Time Warner, as described in many books, despised professional wrestling and actively wanted it to do so badly that it had to be taken off the air. Ted Turner, who had been WCW's protector, had gotten older and lost his position of power after the AOL/Time Warner merger, and thus was no longer able to exert influence over it. Internally, WCW had no effective management, no bosses who were able to actually control the egos of the wrestlers and hand out effective punishments. Instead it was run by Vince Russo, who chronically misunderstands everything about how pro wrestling works, and a bunch of smaller names who argued with each other and deliberately sabotaged the shows to keep anything besides their pet ideas from getting over.
- WWE NXT season 5. It felt like they were just going trough with the motion with the show, and had pros like Hornswoggle, and never bother giving Darren Young a new pro after Chavo Guerrero was released. Once they gave up all pretense of it being a competition and morphed it into a C show. Then they revamped the entire thing and made it into the show for their developmental system.
- The Atlanta Spirit Group wanted to sell the Atlanta Thrashers (now known as the second generation Winnipeg Jets) since day one of owning the NHL franchise. The group were only interested in the NBA's Hawks; they didn't even want the Thrashers as a tenant in Philips Arena. Legal in-fighting as well as the group spending the bare minimum to operate the team often yielded an abysmal on-ice product, causing the Thrashers to fall to the bottom of the league in attendance and team valuation. Atlanta Spirit even considers the Thrashers an Old Shame, erasing any and all reminders of the team.
- The league also didn't seem to care about keeping the Thrashers in Atlanta, as they would have not collected a $60 million relocation fee if they found a suitor willing to keep the team in Atlanta. This is particularly egregious considering the league made significant efforts to keep other struggling clubs such as the Pittsburgh Penguins, Nashville Predators, and especially the Phoenix/Arizona Coyotesnote in their respective markets.
- Regardless of whoever owns the Florida/Miami Marlins, high quality players are almost guaranteed to get traded away in fire sales. Current owner Jeffrey Loria (the ex-owner of the former Montreal Expos) is particularly hated in this regard; he'll spend the bare minimum on a roster simply to save money and has fired two well-regarded managers because they couldn't win on a shoestring budget. The team were so desperate to fill seats for the 2013 home opener, they resorted to Groupon of all places.
- After the 1994 season, the fire sale of several star players along with several other front office factors spelled the end of the former Montreal Expos. For the last years of their existence in Montreal, fan support dwindled after the team could not secure English language TV and radio broadcast rights and negotiations to build a new baseball-specific stadium fell through. After Jeffrey Loria's mismanagement of the team, the Expos were sold to the other clubs of Major League Baseball, with the intention of disbanding the team along with the Minnesota Twins after the 2001 season; however, legal action by the Minnesota state government forced the Twins to play out their lease at the Metrodome. Since the league couldn't dissolve the Expos and maintain a 162 game schedule with 29 teams, the Expos remained in Montreal until the end of the 2004 season, after of which the club was relocated to Washington, DC and rebranded as the Nationals.
- Battle Spirits failed in its short US run because Bandai not only failed to even advertise it, they didn't even bother to stock the cards in stores that requested it.
- Exalted has a number of examples. While which splats would qualify are the result of huge internet knife fights, two that virtually everyone agrees on are the second edition Sidereal Charmset's pre-errata state and the Mountain Folk mechanics. The Sidereals had the significant issue that their writer actively hated the mechanics that made them good in first edition, resulting in powers that literally did nothing and stuff that didn't interface all that well with the Exalted system. The Mountain Folk... well... they had one keyword (Leadership) detailed but no Charms using that keyword actually written, and a Charm that provided Overwhelming equal to the user's Essence... in a system where everyone gets Overwhelming equal to their Essence score automatically, and in which Overwhelming values do not stack. This last problem was indirectly (and perhaps unintentionally) fixed by the "2.5" errata, which struck the "automatic Overwhelming equal to Essence" rule from the books.
- The works of Matt Ward for Warhammer 40,000 consistently display ham-handed alterations to established lore and telling instead of showing, especially the codex supplements: he turned Iron Hands into the attack dogs of the Adeptus Mechanicus that can only think about the death of their primarch (whose memory spawns a daemon that can only be defeated by embracing emotion instead of logic), openly kill or allow to die fellow Imperial forces, and no longer have their unique chapter structure; his Imperial Fists are prideful to the point of it being a Fatal Flaw on par with the Blood Angels' Black Rage and eternally crusading (the gimmick of their child chapter the Black Templars). His idea that Ultramarines primarch Roboute Guilliman is every Space Marine's "spiritual liege" is a well-known meme in the 40K community.
- Plumbers Don't Wear Ties is advertised as self-proclaimed full motion video but the only part that has full motion video is the beginning, while the rest is a bunch of slide show that sometimes include filter effects. It also suffers from a lot of padding including the actor goofing around in L.A. Worst of all, there's a part where an actor flubs his line and the crew falls about laughing (which is in itself sad; it wasn't even funny). They don't bother editing this out at all.
- Living with Insanity's artist, Paul Salvi, takes this attitude. He cuts a lot of corners on the art by rewriting dialogue, cutting down the number of panels and even ignoring whole strips. This causes a lot of plot holes or makes jokes fall flat.
- The email button of Homestar Runner's Main 15/Powered by the Cheat contents page gives three different random remarks from Strong Bad, and in one of them he says The Cheat's visual style "looks like you just don't care".
- IGSRJ made a review of Duke Nukem Mobile while going over his emo phase. At the end, he admitted that it was made so YouTube didn't cancel his show.
- Sailor Moon Abridged had the titular protagonist fight a tennis-themed monster who threw a ball at her, and caused her to be trapped in a tennis ball.
Sailor Moon: Holy s***, they turned me into a tennis ball! I mean really, are they even trying anymore?"
- Invoked by the Third Rate Gamer, a Stylistic Suck satire of Caustic Critic Video Review Shows:
"There's also another predecessor called Castlemania 3: Dracula's Curse. All I'm going to do is barely mention it here, so that I can say I reviewed it."
- Death Battle normally prides itself on Shown Their Work, but their Master Chief vs Doomguy battle received a lot of flak for this. Doomguy moved extremely slow and took a lot of hits, even though they established he can run at 57 miles per hour. Master Chief was able to throw a grenade through his own Bubble Shield, which is not possible.
- Disney XD airs episodes 20 onward of The Avengers: Earth's Mightiest Heroes with an opening that promotes the movie The Avengers in a manner containing several inconsistencies compared to the show. First of all, Nick Fury narrates, even though S.H.I.E.L.D. and The Avengers start out as two completely separate groups of crimefighters. Secondly, his speech mentions Iron Man, The Mighty Thor, The Incredible Hulk, and Captain America (who's referred to as "The First Avenger" even though in EMH he's not even one of the founding members), but omits the other members. Depending on the time in the series' course, the number of Avengers ignored ranges from two to six. Finally, the editors managed to keep three lines of the original theme song, but they don't rhyme at all.
- Making the inconsistencies even more blatant, a subplot running through some of these episodes involves SHIELD trying to pressure the Avengers into registration, in Fury's absence. Also, each of these heroes makes a prolonged disappearance in the second season, but this intro always speaks of all four as full-time members.
- Though according to Word of God, it wasn't done to promote the movie, but rather to help EMH's sagging ratings by making it seem like it would be closer to the Avengers film.
- Actually the show's ratings were fine - it was that they didn't have a toy line and they kept hitting older demographics rather than little kids, even though there was no toy line for the kids to buy in the first place.
- Despite being the source of most of the series' charm and humor, (most of) the VHS and DVD releases of Beavis and Butt-Head have the music video segments cut, despite the show being owned by MTVnote . Presumably this was either to keep costs down, or remove dated content, or fit more episodes on each disc, or because they were just too lazy to get all the clearances.
- The first one. MTV made a deal, way back when, that they could, for little to no cost, use the music from videos in shows made for their network, something they gladly did, giving their nineties shows the coolest soundtrack. The deal never counted for home releases, which was barely a thing back when the deal was made, and the cost of securing the rights would simply be prohibitive.
- Captain N: The Game Master, oh so very much. None of the characters come even close to resembling the game characters they were based on in appearance, behavior, or (on one case) name, the animation is Off Model and in many cases unfinished, and it falls prey to some of the absolute most cliched plots in cartoon history. The saddest part is a cartoon starring everyone's favorite Nintendo characters could have been the greatest thing ever if it had serious effort put into it.
- Clerks was shafted by ABC who could only be bothered to air two of the six initial episodes and made matters worse by inexplicably airing them out of order starting with the fourth episode followed by the second, the latter of which contained jokes that only made sense if you had seen the first.
- The official site for Dino Time still uses the earlier models for the main characters.
- The DVD releases for The Disney Afternoon suffer from this. Many of them are the Vanilla Edition. They often use the Edited for Syndication versions of episodes, and they released the volumes out of production order. The five part pilot for Chip 'n Dale Rescue Rangers isn't on the first volume. It's on the second. The Darkwing Duck DVDs have characters appear in episodes before they are introduced to the audience. To make matters even worse, many of the shows only have partial releases and are unlikely to ever be completely released, which forces fans to Keep Circulating the Tapes.
- This trope was used many times during the early episodes in Family Guy. A character learned nothing after going through a life changing experience. The writers admit that this was their way of ending an episode without really adding much detail to it, simply because they didn't care how it ended.
- The Invader Zim episode "Door To Door" was another example of a double whammy of TJDC and Screwed by the Network: a fantasy sequence depicting an enflamed city under attack had to be cut after 9/11. The creators complied and re-submitted the episode (on schedule, no less) with a less intense scene in its place..... and the network still aired the original cut!!
- Some My Little Pony: Friendship Is Magic products.
- The toys, which are naturally listed under "Toys" above.
- The European comics also catch a lot of flack, accused of being written and drawn by people who have never seen the original show. The storylines are trite, OOC behavior abounds, and the artwork relies on a handful of duckfaced vectors almost always showing ponies in full profile with no sense of depth. When amateur fan artwork looks better than the licensed product, you know there's a problem.
- The game Adventures in Ponyville has similar problems. Being a bit limited of gameplay is only expected of a browser-based game made on the side of the real product, but there's still the graphics and writing. A lot of the graphics are directly based on the show and thus adequate by definition (though even some of those manage to be out of scale to each other), but as for the rest, well, you can easily find better on Deviant ART by the truckload. As for the writing, there's OOC and no particular sign of understanding of the source material, and blatant inconsistencies in what character is supposed to be talking about whom. Also, the player character is constantly looking behind herself.
- Played up intentionally for humor and parody in The Ren & Stimpy Show episode "Stimpy's Cartoon Show". The premise of the episode being that Stimpy wants to be an animator and make an animated film short to impress his idol, the old and nearly decrepit "godfather of all animation" Wilber Cobb. Ren is jealous and bitter towards this, so Stimpy crowns him as the "producer". It soon becomes apparent however, that Ren Just Doesn't Care about the production and his only real effort is to work Stimpy to the bone while presenting impossible challenges to him. (i.e: Taking month-long vacations, ripping up storyboards and tossing them in the trash, price gouging him on the cost of art supplies, forcing him to rely on shaving logs for animation cels, etc.) In the end, Stimpy's cartoon becomes an ineptly produced, incoherent, nonsensical, badly drawn, horribly animated, ridiculous and baffling load of gibberish called "Explodey The Pup" which demonstrates the very definition of this trope. For those curious, here is the ensuing result.
- On the bright side, Cobb ultimately gives a warm and praise-filled assessment of the cartoon - though somewhat undercut by the clarified context of his assessment.
- On networks where classic episodes of The Simpsons run in syndication, they are almost always cut to the bone to make room for more commercials. While this rarely compromises the storyline, many Funny Moments that give the classic episodes their charm are lost in the shuffle, exiled to the DVD box sets.
- Aside from that, the Simpsons series writers are well known for making numerous past episode contradictions and continuity errors. The most famous one of these is the episode, "That '90s Show."
- A minor point, but the gender of the Simpsons' cat tends to change from episode to episode. One would think that it would be a relatively simple thing to make a decision and keep a note somewhere, but apparently no one bothered.
- Similarly, the names of the Flanders children will flip every now and then (for the record, Todd was originally the older and Rod was the younger). In the DVD commentaries the writers and showrunners say they can't remember which is which.
- German station Super-RTL broadcasts Star Wars: The Clone Wars in groups of four episodes. The order of the episodes is adjusted so multi-part stories air on the same evening; season five should not have been affected by this since it was composed of four-part stories and nothing else. Unfortunately, it was. For the original US broadcast, episode thirteen – "Revival", the first episode of four about Darth Maul and Savage Oppress – was moved to the beginning of the season (where the creators wanted something epic), but the ending was enough of a closure that the three other parts were left at their original place later in the season. Whoever was in charge of Super-RTL's broadcast (which did not happen until the season was already available on DVD, for which the proper order had been restored, but this was ignored) then interpreted "Revival" as a standalone episode. And in accordance with their usual policy, the "three-parter" was considered more prominent and put in front of the "filler" "Revival", even though the former ended with Maul and Savage's rampage being put to an end. SRTL then claimed that Lucasfilm had dictated this order, but the fact remains that whoever was responsible caused needless irritation by ignoring something blatantly obvious.
- Young Justice: The tie-in comics had one panel Bio's for many of the characters on the show. The Bios used events and teams from comics, to broaden the readers perceptions. Some are pretty inaccurate, like Bane's. It says that he's associated with the Suicide Squad, but the picture shows the line-up from The New 52, which he isn't part of. Even worse is that the other team it shows him associated with is the Secret Six, but the picture is of The Legion of Doom from Justice League: Doom.
- You're in the Super Bowl, Charlie Brown, the next-to-last Peanuts animated special in which original producer Bill Meléndez had a hand. They don't have quite enough plot for 25 minutes, so they do cutaways with Woodstock's football team curb-stomping teams of various animals. The animation is exactly the same all three times (except with new species slipped in over top the existing ones — cats, dogs, then bison), meaning that the third team consists of bison who are no bigger than cats. Even for a franchise known for its cheap animation, that's really bad.
- This is how Cartoon Network basically treated their DC Nation block. They not only just barely advertised it, but when they do, they made flimsy promises of "new episodes"... even though the shows they've promised new episodes for (Green Lantern: The Animated Series and Young Justice, specifically) had already ended. There's also that incident where the block was removed from the air without any warning or reason whatsoever in Fall 2012, angering the fans greatly, and it wasn't reinstated until the following January. You'd be forgiven for thinking that Cartoon Network was secretly trying to ruin the block's ratings just so they can have an excuse for canceling it permanently.
- This same treatment extended to the shows themselves that air on DC Nation. As already stated, Green Lantern: The Animated Series and Young Justice were treated lazily at best before getting screwed over, and eventually replaced by Beware the Batman and Teen Titans Go!. Beware the Batman itself also got screwed over royally, being limited to only one slot on DC Nation, barely advertised, being unceremoniously put on hiatus, and then having its remaining unaired episodes aired on Toonami. On the other hand, Teen Titans Go!, the only DC Nation show to have ever gotten preferential treatment (possibly due to the fact that it's a comedy instead of an action show like the others), is given constant advertising and aired on two timeslots: one for new episodes on prime time Thursdays, and one on DC Nation for reruns. Seriously, if you're either unwilling or unable to milk a frigging Batman show for all its worth, you're insane or an idiot.
- The Region 2 DVD release of The Cleveland Show's second season suffers horribly from this. The cases the DVDs were packaged in must have been obtained on the cheap, as the cases on display were either broken or had one or more discs loose in the case, and the DVDs themselves were very clearly ripped from the American release. The audio pitch wasn't raised to the PAL standard, and rather than having the UK's FACT warning screens, it retains the FBI warnings from the American version.
- Wolverine and the X-Men was supposed to be an all new, all different, all edgy show unlike any X-Men cartoon before it, yet for the most part it seemed content to rehash stories that were already done in previous X-Men shows (Days of Future Past - the 90s show did it first) or just rip off elements of the movies (Wolverine being the Canon Sue center of the X-Men universe) when it wasn't wasting time on incredibly insipid stories (Wolverine having a G-rated fight with The Incredible Hulk, the X-Men being kidnapped by a bunch of rinky dink ninjas) to seriously derailing one of the franchise's most prominent characters (Cyclops got butchered so badly that he was practically the living embodiment of Narm).
- In the DVD releases for the original series of The Transformers the episodes were transferred and remastered from their original video format. Unfortunately, a lot of the footage had degraded from the heavy rerunning of the tapes. Rhino decided the DVD remasters should thus be pulled from pre-broadcast cuts. Though these tapes were in better condition, they were rough cuts requiring Rhino to draft help so it could completely reconstruct some scenes, or add new effects. Unfortunately, this resulted in new Off Model animations being added to old episodes, and a lot of unnecessary stock sound effects. The Transformers Wiki quotes a very apathetic response from the Rhino representatives, who "rather disingenuously attempted to claim that these sound effects were there all along and that fans had simply been unable to hear them before, despite evidence to the contrary."
- Writers of modern SpongeBob are guilty of not caring. In the early series when Squidward was the butt of jokes, it was because of how much he was a Jerkass he was to people like SpongeBob and others. However, in most of the modern episodes, they think that how Squidward was in early episode carries on into the new episodes so they hardly put any effort in making Squidward a jerkass when he's the butt of jokes and have characters hate him for just being Squidward.
- Baby Blues, an Animated Adaptation of the comic strip which bore little resemblance to its source material. The strip's main family, the MacPhersons, is basically shoved into the background with a new dysfunctional family called the Bittermans who steal most of the plots — even though the strip had other families that regularly acted as the MacPhersons' foils. The tone of the strip was changed from mostly charming and sympathetic tales of raising a family to a darker, "edgy" clone of The Simpsons, perhaps to pursue the teen/young-adult demographic… even though that exact demographic is a major Periphery Demographic of the strip. (They even briefly changed the title of the show to Bluesville out of fear that the demographic wouldn't want something with "baby" in the title.) Finally, the TV series set the chronology back, as it had Zoe as an infant and did not feature her younger brother Hammie, even though at that point in the strip, Zoe was old enough to attend school and Hammie was about two or three.
- Managing to go even further in the "bearing no resemblance to the comic" department was Fish Police. The source material, an indie comic book with a somewhat gritty tone, was diluted to a generic "adult" cartoon laden with as many fish puns as The Flintstones had rock puns. The animation was a lot more bright and colorful, characterization unrecognizable (Inspector Gill goes from a womanizing Jerkass alcoholic in the comics to a Dick Tracy clone, in addition to somehow dropping an L from his surname; Angel goes from a brainy piece of eye candy who pulls a Face-Heel Turn to a brainless Jessica Rabbit clone; etc.), none of the plot points from the comic are used, and in short, almost nothing resembles the source material except for "underwater crime with anthropomorphic fish".
- One episode of the radio countdown show Bob Kingsley's Country Top 40 played back an interview with Carrie Underwood about her difficulty with a very high note in "All-American Girl"... then played an abridged version of the song that left out the note in question.
- A Cracked.comnote article, 6 TV Shows That Completely Lost Their Shit, talks about this process:
These shows didn't "jump the shark." That doesn't do them justice. No, these are shows where the creators simply said "fuck it", flew out of the water, broke the bounds of the earth's atmosphere and set a course for the center of the Sun.
- Google's search suggestions, even with Safe Search on, doesn't even bother to filter the word bullshit, a widely used profanity, out. It filters the word shit out, but bullshit gets past.
- Wizards of the Coast stopped caring about Dungeons & Dragons third edition when fourth started coming out. The Tome of Battle errata changes mid-freaking-word into Complete Mage errata.
- It may have been worse than that. In a couple of early interviews about the new game system, it sounded suspiciously like the designers actively disliked 3rd edition, the system they'd been selling us for the prior eight years, and wanted to make sure we stopped liking it too. Some of their folks practically went on record as saying "Yeah, our last product totally sucked. We can't believe anybody thought it would be fun. This new one, on the other hand..."
- That's fairly common in design - after all, there's a reason it's 4th Edition and not 3.Xth Edition. They likely suspected that any attempt to "patch" old rules to fit (as they routinely do in Magic, fixing up old cards with new template wordings) was doomed to failure from the start. Which, of course, doesn't rule out them Just Not Caring about 3rd any longer.
- The folks who actually wrote 3 and 3.5, meanwhile, went on to create the Pathfinder system that further refines it.
- Westwood One's (formerly Dial Global) "Hot Country", a programming service for radio stations that don't have their own DJs, often edits songs for time. Most of the edits are innocuous enough, but their edit of Taylor Swift's "Back to December" abruptly cuts from the first chorus to near the end of the second verse ("I go back to December all the time / [cut] / And then the cold came, the dark days when fear crept into my mind…"). To be fair, the song is well over four minutes, but you'd think they'd be able to make a less egregious cut somewhere.
- Radio edits of this sort pop up now and again for reasons no one can quite explain:
- There's a radio edit of Electric Light Orchestra's "Evil Woman" that makes changes you'd expect (such as shortening the solo), but for whatever reason, it also cuts out the line "I came running every time you cried" near the end.
- An edit of Queen's "Under Pressure" exists that cuts the second to last line ("This is our last dance"). It saves all of two seconds.
- Some classic rock stations play a modified version of Lou Reed's "Walk On The Wild Side" that jumps from the end of the second verse (about Candy Cane) to the second chorus, which fades into the sax solo that ends the song. One could argue it might be for content, but those first two verses mention transvestism and openly talk about back-room fellatio, as opposed to say singing at the Apollo.
- One of the radio edits of Styx's "Come Sail Away" drastically shortens the song. First, it removes the second half of the song's intro verses; after he sings "And I'll try, oh, lord, I'll try", it suddenly cuts to the equivalent part after the second verse (very jarring if you're used to the full version, as here it suddenly goes from solo piano to full orchestration) and it goes to the rock part of the song. As if that weren't enough, this edit completely does away with both the keyboard solo and the guitar solo; the last "Come sail away with me" in the first chorus is changed to one earlier in the chorus, and it skips straight to "I thought that they were angels..."
- In the 1990s, a 'radio edit' of TLC's "No Scrubs" circulated on pop radio with one "redeeming" feature—all the verses except the first were removed. Instead, a majority of the song was the chorus, repeated ad infinitum, for over four minutes.
- Alan Jackson's "Good Time" is over five minutes, so it's only natural that it would be cut down for the radio edit. It's also natural that the cuts would include some of the instrumental breaks between verses. What's not so understandable is that two of the song's short verses (the ones that begin "Cashed my check, cleaned my truck…" and "Twelve o'clock, two o'clock, three o'clock, four") are cut out. You'd think if a verse would be removed, it would be the only one that actually repeats (the entire "Shot of tequila, beer on tap…" verse is sung twice) and/or the many Title Drops at the end.
- The radio edit of Clint Black's 1989 debut single "A Better Man" cuts one repetition of the line "I'm leavin' here a better man" from the very end. Exactly what benefit was to be had in removing fewer than 10 seconds from a song that's only 3:06 to begin with is a mystery for the ages.
- When Marriott bought the Howard Johnson's motel and restaurant chain in the 1980s, they were interested only in the motel properties (which they later sold off), and had no intention whatsoever in maintaining the Ho Jo restaurants. All of the company-owned restaurants were closed in 1985, leaving only the franchised restaurants, which banded together to form a new company. Unfortunately, the new owners of the restaurants had limited resources, and were left to let the restaurant empire slowly slide into oblivion. The company (FAI) went under in 2005, and as of 2013, there are only two Ho Jo restaurants left, with very little of the chain's history (not even the recipes for once-signature dishes such as ice cream, fried clams, mac & cheese, etc.) to show for it.
- Marriott also used to own Roy Rogers restaurants, which they sold to Hardee's in 1990. Despite the Hardee's brand being almost totally unknown in Roy Rogers' core market, Hardee's simply rebranded all of them. Backlash was so strong that most of them reverted to Roy Rogers only two years later.
- As for the motel side of Ho Jo, it eventually ended up under the ownership of Cendant, which is now part of Wyndham. Cendant pretty much wiped away the chain's identity by opening new properties that lacked the amenities of the older motels, re-branding other properties to the name, and mandating extensive renovations to the unique architecture of the existing motels (most notably, many were forced to extensively renovate or remove the chain's once-signature A-frame lobbies). To be fair, they are far from the only victims. Motel rebranding is incredibly rampant anymore, thus doing wonders to diffuse the entire point of a motel brand in the first place; namely, to provide consistent quality and amenities to the traveler. Two locations of any given chain could be vastly different in quality, dependent on entirely whether they were purpose-built or re-branded, and what they were re-branded from if at all.
- The M16 assault rifle in its original incarnation. It was only when they realized the consequences of what had happened—which had as much to do with overconfidence in the design as any engineering flaw—they put a lot of effort into making it right.
- The initial model of the L85 had the same issue - what happened was the Royal Small Arms Factory was given a design which was already fairly maintenance-intensive, told they were all going to be laid off once the rifles were produced, and then left to begin production.
- Salem, a gothic/"witch house" group from Michigan, played at Levi's SXSW fest in 2010. Not only was their performance disappointing (and a missed opportunity to give the audience a good introduction to their unique sound), it was god awful. One member (Jake, the long-haired one), looking rather weathered with a slight resemblance to Chester A. Bum, raps/mumbles in a drunken haze during one song and lackadaisically hits electronic drums during another, clearly not giving the slightest fuck about keeping time with the other musicians. You really have to see it for yourself to understand... This came as a big shock to many fans of the group as their studio material is actually pretty fucking awesome. To the band's credit, it was an awkwardly intimate outside stage that would be more suited to a stripped-down punk band than one that relies on mystique and clandestine ambiguity as heavily as they do.
- Eddie Lampert, owner of Sears, seems to have little interest in maintaining the chain's legacy, particularly after its 2006 merger with Kmart. Since well before the merger, both chains have seen nothing but closing after closing, with some clearly being closed for the real estate and not due to underperformance. Lampert's management of the company as a whole has been called into question, as seen in this article.
- Construction contractors substituting concrete or rebar for some less-durable material has sadly happened before. But for a Shanghai contracting company to use bits of garbage to support an important, high-traffic bridge is either this or howling insanity.
- Similarly, the 1981 Hyatt Regency disaster in Kansas City was caused because a contractor replaced six two-story-long support rods with twelve one-story-long support rods. The shorter rods saved a bit of money, but also meant the upper walkway had to support the entire weight of the lower walkway, rather than the weight of both being suspended at the ceiling as the engineers intended. 114 people were killed when the two walkways fell into a crowd below, which remains the dealiest structural failure in US history aside from 9/11.
- DVD copies that come with Disney Blu-ray combo packs. Unless it's a new-to-DVD release, or a major catalog title, if a DVD comes with a Blu-ray, chances are it'll be the same disc that's been available for years on its own. It's very odd buying a supposedly new DVD in 2013 that says Treasure Planet is coming soon to theaters. The most Egregious example would have to be the release of the Who Framed Roger Rabbit Blu-ray, which uses disc 1 of the 2003 DVD release... which wouldn't be so bad if disc 1 wasn't a pan-and-scan version which means unless you have disc 2 of that set and you want to watch the widescreen movie somewhere a Blu-ray player isn't connected, you're screwed.
- The Pan and Scan versions of TV movies and shows produced in the HDTV aspect ratio of 1.78:1 might have a greater chance of losing important details than the cropped versions of theatrical movies. The people in charge of cropping those TV movies and shows often focus entirely on the center portion of each scene, never panning to the sides, unlike the people who crop movies. This thread contains a handful of examples from High School Musical.
- Even worse are HD channels that air versions of the shows cropped for their Standard Definition counterparts. This is especially common when shows are Edited for Syndication, such as Comedy Central's pre-prime time re-runs of South Park, which is usually the only time you can catch anything from Seasons 5-11, each originally formatted in widescreen.
- Publishers of public domain films and TV shows tend to fall into this — low-quality picture and audio (even when better prints are available), cheap packaging, etc. Especially true of the packages like those that promise you "100 <type> Films" — by the end of the set, they've often counted TV episodes rather than theatrical films.
- The documentary This Film Is Not Yet Rated depicted the MPAA's ratings board as going out of their way to be apathetic towards film produced without involvement from (read: doesn't make any money for) a major studio. Several interviews with indie film makers relate real-life incidents in which they personally reached out to the MPAA for input to change the ratings of their films, usually from an NC-17 to an R, to either be shot down with double talk or, in the case of New Line Cinema, outright ignored.