"Tom and Jerry is about as uninspired a cartoon series as was ever created. It's pure generic cartoon thinking of the time. What is a cartoon? Uh...it's where a cat chases a mouse and there is lots of hurt and noise and mayhem. It's hard to be more basic than that, so Bill and Joe didn't fix something that wasn't broken for 15 or 16 years. For that whole period they didn't even try to create new characters."
Ass: OH NO! Look who it is!
Musty: It's Team Rockhead, of course! They show up EVERY episode!
Ass: Yes, but they usually show up six minutes into the show! This time, they didn't show up until six minutes and twenty seconds!
Messy (entering): Ha! Never underestimate the element of surprise!
"Tarzan is always knocked on the head and taken captive; he always escapes; there is always a beautiful princess or high priestess who loves him and assists him; there is always a loyal friend who fights beside him, very much in the Queenpeg tradition... But no matter how difficult the adventure, Tarzan, clad only in a loincloth with no weapon save a knife (the style is comforting to imitate), wins against all odds and returns to his shadowy wife."
— Gore Vidal, "Tarzan Revisited"
"They really are all the same, aren't they?" she said to the three-eyed teddy bear. "You know it's going to be Mary the Maid, or someone like her, and there's going to be two men and she will end up with the nice one, and there has to be misunderstandings, and they never do anything more than kiss and it's absolutely guaranteed that, for example, an exciting civil war or an invasion by trolls or even a scene with any cooking in it is not going to happen. The best you can expect is a thunderstorm."
—Glenda Sugarbean, Unseen Academicals
"With the Casper series, you never knew what picture you were working on, because they were all exactly the same... I think the problem lay in the attitude of the management. The bosses would go to screenings with a list of all the gags in a film on a clipboard. They'd put a check after each gag that got a laugh and use it in the next picture. If a gag got a laugh in three pictures in a row, it became a standard and they'd use it in every picture after that. They had a real nuts-and-bolts approach to making films."
"[I]t bears repeating that this stunt was driven solely by Marvel's sales and marketing boys. They wanted it, they pushed for it, and they even wanted to make it twice as long as it ended up being. They were so impressed with the success of the "Age Of Apocalypse" event done with the X-Men books that they thought it could easily be replicated with the Spider-Man line. The biggest difference between the two stunts was that "Age of Apocalypse" was a well planned, conceptually strong, story-driven project that was generated by the X-Men editorial staff and writers. The Scarlet Spider stunt, on the other hand, was something that the Spider-Man editors and writers were pressured into doing, and was agreed to with absolutely no story concept or overall theme in place. Once it was agreed to, the Spider-Man team had to scramble desperately to throw something-ANYTHING-together in a very short amount of time, which could be marketed and promoted and hyped...and the fact that the deadlines were horrendous didn't exactly help matters."
—Editor/Writer Glenn Greenberg on The Clone Saga
"In the few years immediately before Final Crisis DC had made a lot of mistakes, but they’d also produced a surprisingly large number of genuinely interesting comics. Slowly but surely, over the next few years, everything interesting in DC’s line has been weeded out and replaced with identical dull tortured heroes doing nothing. Final Crisis seems to have been the point at which DC editorial decided that experimentation and creator-driven stories were a bad idea, and at which they started to put together the plan for “New 52”, the production line of editorially-driven crossover fodder that today masquerades as a comic line. It seems to have been the point at which they decided that their audience really weren't readers, but purely consumers."
— Andrew Hickey on Final Crisis.
"Was there much clamoring for a spinoff game about Lightning? I don't remember signing that particular petition. Although I concede that it's a good idea, because among the cast of the many Final Fantasy games there have been, she's a real stand-out character: she's broody with a big sword and stupid hair and dresses weird."
"What's this game about, then? You play as Link and you have to rescue the Princess Zelda? Oh wow, across the meadows of fresh ideas, you strive like a colossus, don't you? Oh, but it's very innovatively evoking Link to the Past on the SNES! The same way I "very innovatively" crawled up my mum's vagina and stuck my thumb in me mouth... OOOHH, a Boomerang and a Hookshot? Slow down, Stanley Kubrick! And now you're going to rent them out to me, 'cause who wants actual structure that gradually opens up the world while we could be at Blockbuster Video?!"
—Zero Punctuation on The Legend of Zelda: A Link Between Worlds
To prepare for this recap, I (along with my family) watched a few Voyager episodes from different seasons. And even in the early season one episodes, there seemed to already be a pattern in place in terms of plot. Namely: there's some problem that threatens the ship at the beginning of the episode. The problem may be external, or something caused by the crew of Voyager itself. A healthy amount of time is spent with various permutations of technobabble phrases, until eventually the right combination is spoken.
— The Agony Booth, "The Fight"
Formularisation is compulsory in commercial TV, and has struck STTNG hard. The NCC1701D now has less time than ever to explore strange new worlds - half the season is prebooked for return visits to the Klingons or Cardassians, and guest spots for Barclay, Ma Troi, Q, Old Uncle Tom Cobleigh and all. Not that I want to see any fewer Romulan Warbirds, Borg motherships etc; I just regret this inevitable loss of novelty in favour of the kind of petty continuity that STTOS tried so hard to avoid.
— Justin B. Rye. Star Trek: Mark Two
"A “reimagining” courtesy of Tim Burton (read: take original material, make it darker yet somehow simultaneously goofier, insert Danny Elfman soundtrack, sit back, make millions)"
"[A]t this point, the world’s just letting Tim Burton get on with things while saying “That’s nice, dear” over the tops of our newspapers."
I really don’t like Will Ferrell. He is the very definition of taking an idea and beating that dead horse till it’s a soft red mush on the ground. Yeah, he was funny and fresh on SNL. Anchorman is an incredibly funny movie. But that’s when the charm and hilarity started to fade. Talladega Nights, while still a little funny, was the marked moment where Ferrell jumped the shark as it were. The joke suddenly began to be how many permutations of movies he could make on his screaming man-child formula by simply changing his clothes. We started at screaming man-child as a weatherman, to man-child as a race car driver, to basketball player, to an elf, to a children’s soccer coach, to finally there were no more clothes and he’s just a loud man-child in Step Brothers. I’m just waiting for the inevitable Quantum Leap solution and they turn Ferrell to a woman... However, whereas Ferrell started simply ruining his own ideas he is now ruining other people’s good ideas in Land of the Lost. Of course, we can make Ferrell a screaming man-child scientist! Brilliant!
"Some crime show. You don't know any of the characters, but you still pay attention to the plot. Abortion doctor murdered. The Christian fanatic is too obvious a suspect. Maybe it's the doctor's wife. Maybe it's his brother; they were professional rivals, and the deceased just won an award. What does an abortionist win an award for, anyway? The cop's partner wants him to do something about his anger issues. Isn't that always the way?"
"This is not chaos," Martin insists. "I don't believe in chaos in songwriting. There is an order to it. It either makes sense or it doesn't. This chord goes into this chord for a chorus. It's two plus two."
Cloud defends a similar position. "We both to this day still feel there is really no 'art' in most music," he asserts. "'Art' isn't in everything. People like to think everything is art. Arranging flowers, writing poems, making a latte—these are just actions, not art. Plugging in an electric guitar, playing four chords, adding bass and drums, and singing words in key is no more 'art' than a guy opening his tool box, putting on a 9/16 socket, replacing a belt, and getting the lawn mower running again."
The first episode of Pokémon that aired on network TV was episode #42, "The Problem with Paras." There are over 700 Pokemon episodes in existence now, so you might not remember this particular one. It's the one where they go somewhere and meet a Pokemon with a problem, and the gang tries to solve that problem, and Team Rocket tries to mess it up. It's that one.
—Platypus Comix, "First Kids WB airing of Pokemon"
Calvin: Have you ever noticed that superheroes usually only do the same thing each time they appear? All they ever do is stop some power mad supervillain from taking over the world! They need to do something different. I mean, it must get boring.
Hobbes: Yeah! The heroes could write to the editor and request new plots. If they refuse, the editors get fried and killed.