History DethroningMoment / OtherMedia

Even the other facets of media aren't safe from eliciting a negative reaction from their viewers.

* CapriciousSalmon: Regardless of what people think about the musical adaptation of ''Film/{{Beetlejuice}}'', I think it's a great show, albeit some things are a little rushed. Act 1 ends with Lydia summoning BJ to sic on Charles, Delia, the Deans and their associates, kicking them out of the house when she realizes Charles is never going to listen to her or change. Beetlejuice then enchants the place with his magic and takes up residence. Then we skip to three days later where the pair have become close friends, scaring anybody who wanders by. Beetlejuice also implicitly keeps the Maitlands trapped in the attic, since they're too scared to do anything to oppose him (or you know, say his name three times and banish him, but that's neither here, nor there). I have no problem with the friendship and I find it kind of unique, but my DMOS is how much of its development happens off-screen. I love the musical but I hated how everything felt some degree of rushed: Lydia going from hating Delia to suddenly accepting her, the Maitlands declaring they'll be assertive, etc. but this was the worst. In context of the play, Lydia only knew BJ for, at most, a few minutes before the Day-O incident, and she made it clear she didn't want his help for obvious reasons and threw him off the roof to emphasize this. The only reason she summons him is as a last resort. But suddenly, they're inseparable kindred spirits, to the point where Lydia "leaving" him when he refuses to help her find her mom is enough for him to coerce her into his green card plot and kill everybody she loves just to keep her at his side. Lydia even confides to Charles she feels sorry for him because he's the loneliest person she's ever met, but at most, he got one line expressing this to her ("I'm tired of being alone and life is the only way out!"). I think if we had a scene of say, him teaching Lydia how to be a ghost, or at least one where they got to know each other better, it wouldn't feel as noticeable.

* {{Tropers/KoopaKid17}}: ''Magazine/ElectronicGamingMonthly'' had a video game review that was in excruciatingly bad taste. It was for ''[[Music/BritneySpears Britney's]] Dance Beat'', which I have no opinion of having never played the game. The reviewer suggested one unjustifiable way to improve it. I can't tell if the reviewer was trying to be serious or funny, but there was a note in there that the game needed "a nude code". Yes, [[SarcasmMode that's one thing that would make a video game aimed at little girls playable]]. Pervert.

* {{Tropers/KoopaKid17}}: ''Magazine/ElectronicGamingMonthly'' had a video game review that was in excruciatingly bad taste. It was for ''Britney's Dance Beat'', which I have no opinion of having never played the game. The reviewer didn't like it, but there was one unjustifiable reason in the review as to why. I can't tell if the reviewer was trying to be serious or funny, but there was a note in there that the game needed "a nude code". Yes, [[SarcasmMode that's one thing that would make a game aimed at little girls playable]]. Pervert.

* Tropers/CJCroen1393: The AdaptationalAlternateEnding in the 2017 ''[[Music/EvilliousChronicles Daughter of Evil]]'' musical is pretty much one of the ''worst'' cases of CharacterDerailment in history. Basically, after [[spoiler:Allen's HeroicSacrifice]], Riliane goes to live as a nun in a monastery, just like in the original. But then, when Clarith tries to kill her in order to avenge [[spoiler:Michaela]], Riliane ''mocks her'', reveals that she feels no regret whatsoever ([[FridgeLogic despite having just previously sung an ENTIRE SONG about how regretful she supposedly is]]) and commands Clarith to bow to her. So in this version, [[AesopAmnesia Riliane learned nothing]] and [[spoiler:Allen ''died'' for nothing]].

* Tropers/MightyMewtron: ''Theatre/DearEvanHansen'' is a very... contentious musical. I used to adore it, due to relating to the main character as a teen, but over time I've reflected on the plot and found more uncomfortable parts. The DMOS, the moment I think overshadows most of the musical's moral complexity, is the "If I Could Tell Her" scene. Before this point, Zoe has presented a very interesting perspective where she can't bring herself to mourn Connor because he was so abusive to her. However, Evan claims that Connor really did love her, and sings a song about what ''he'' (Evan) loves about Zoe, claiming these are all things Connor believed. Then at the end, he tries to kiss her. Putting aside the IncestSubtext implications of Evan singing a love song from Connor's perspective (which is at least lampshaded), the scene makes Evan look so much skeevier than he has up to this point, as he's not just trying to help a grieving family, he's letting his crush on Zoe get in the way of things. This kicks off the very dull and uncomfortable romance arc between Zoe and Evan, which comes at the expense of Zoe's more complex feelings about her brother. While there's a lot of little problems with this show, the way this arc kicks off truly drags down the rest of the show and makes Evan less likable, even for a show meant to explore moral complexity.

* CapriciousSalmon: Regardless of what people think about the musical adaptation of ''Film/{{Beetlejuice}}'', I think it's a great show, albeit some things are a little rushed. I've honestly never related to a musical character as much as I have with Lydia (Heather M. is a close second). Act 1 ends with her summoning him to sic on Charles, Delia, the Deans and their associates, kicking them out of the house when she realizes Charles is never going to listen to her or change. Beetlejuice then enchants the place with his magic and takes up residence. Then we skip to three days later where the pair have become close friends, scaring anybody who wanders by. Beetlejuice also implicitly keeps the Maitlands trapped in the attic, since they're too scared to do anything to oppose him (or you know, say his name three times and banish him, but that's neither here, nor there). I have no problem with the friendship and I find it kind of unique, but my DMOS is how much of its development happens off-screen. I love the musical but I hated how everything felt some degree of rushed: Lydia going from hating Delia to suddenly accepting her, the Maitlands declaring they'll be assertive, etc. but this was the worst. In context of the play, Lydia only knew BJ for, at most, a few minutes before the Day-O incident, and she made it clear she didn't want his help for obvious reasons and threw him off the roof to emphasize this. The only reason she summons him is as a last resort. But suddenly, they're inseparable kindred spirits, to the point where Lydia "leaving" him when he refuses to help her find her mom is enough for him to coerce her into his green card plot. She even tells Charles she feels sorry for him because he's the loneliest person she's ever met, but at most, he got one line expressing this to her ("I'm tired of being alone and life is the only way out!"). I think if we had a scene of say, him teaching Lydia how to be a ghost, or at least one where they got to know each other better, it wouldn't feel as noticeable.

* Tropers/MightyMewtron: ''Theatre/DearEvanHansen'' is a very... contentious musical. I used to adore it, due to relating to the main character as a teen, but over time I've reflected on the plot and found more uncomfortable parts. The DMOS, the moment I think overshadows most of the musical's moral complexity, is the "If I Could Tell Her" scene. Before this point, Zoe has presented a very interesting perspective where she can't bring herself to mourn Connor because he was so abusive to her. However, Evan claims that Connor really did love her, and sings a song about what ''he'' (Evan) loves about Zoe, claiming these are all things Connor believed. Then at the end, he tries to kiss her. The scene makes Evan look so much skeevier than he has up to this point, as he's not just trying to help a grieving family, he's letting his crush on Zoe get in the way of things. This kicks off the very dull and uncomfortable romance arc between Zoe and Evan, which comes at the expense of Zoe's more complex feelings about her brother. While there's a lot of little problems with this show, the way this arc kicks off truly drags down the rest of the show and makes Evan less likable, even for a show meant to explore moral complexity.

* Bobg: After GaryColeman's death, numerous ''Theatre/AvenueQ'' productions have had his character die at the end. That's in really bad taste, and it shows a lack of respect for the dead.

* Tropers/CJCroen1393: The AdaptationalAlternateEnding in the 2017 ''[[Franchise/EvilliousChronicles Daughter of Evil]]'' musical is pretty much one of the ''worst'' cases of CharacterDerailment in history. Basically, after [[spoiler:Allen's HeroicSacrifice]], Riliane goes to live as a nun in a monastery, just like in the original. But then, when Clarith tries to kill her in order to avenge [[spoiler:Michaela]], Riliane ''mocks her'', reveals that she feels no regret whatsoever ([[FridgeLogic despite having just previously sung an ENTIRE SONG about how regretful she supposedly is]]) and commands Clarith to bow to her. So in this version, [[AesopAmnesia Riliane learned nothing]] and [[spoiler:Allen ''died'' for nothing]].

* CapriciousSalmon: Regardless of what people think about the musical adaptation of ''Film/{{Beetlejuice}}'', I think it's a great show, albeit some things are a little rushed. I've honestly never related to a musical character as much as I have with Lydia (Heather M. is a close second). Act 1 ends with her summoning him to sic on Charles, Delia, the Deans and their associates, kicking them out of the house. Beetlejuice then enchants the place with his magic and takes up residence. Then we skip to three days later where the pair have become close friends, scaring anybody who wanders by. Beetlejuice also implicitly keeps the Maitlands trapped in the attic, since they're too scared to do anything to oppose him (or you know, banish him, but that's neither here, nor there). I have no problem with the friendship and I find it kind of unique, but my DMOS is how much of its development happens off-screen. In context of the play, Lydia only knew BJ for, at most, a few minutes before the Day-O incident, and she made it clear she didn't want his help for obvious reasons and threw him off the roof to emphasize this. The only reason she summons him is a last resort. But suddenly, they're inseparable kindred spirits, to the point where Lydia "leaving" him when he refuses to help her find her mom is enough for him to coerce her into his green card marriage plot. She even tells Charles she feels sorry for him because he's the loneliest person she's ever met, but at most, he got one line expressing this to her ("I'm tired of being alone and life is the only way out!"). I think if we had a scene of say, him teaching Lydia how to be a ghost, or at least one where they got to know each other better, it wouldn't feel as noticeable.

* CapriciousSalmon: Regardless of what people think about the musical adaptation of ''Film/Beetlejuice'', I think it's a great show, albeit some things are a little rushed. I've honestly never related to a musical character as much as I have with Lydia (Heather M. is a close second). Act 1 ends with her summoning him to sic on Charles, Delia, the Deans and their associates, kicking them out of the house. Beetlejuice then enchants the place with his magic and takes up residence. Then we skip to three days later where the pair have become close friends, scaring anybody who wanders by. Beetlejuice also implicitly keeps the Maitlands trapped in the attic, since they're too scared to do anything to oppose him (or you know, banish him, but that's neither here, nor there). I have no problem with the friendship and I find it kind of unique, but my DMOS is how much of its development happens off-screen. In context of the play, Lydia only knew BJ for, at most, a few minutes before the Day-O incident, and she made it clear she didn't want his help for obvious reasons and threw him off the roof to emphasize this. The only reason she summons him is a last resort. But suddenly, they're inseparable kindred spirits, to the point where Lydia "leaving" him when he refuses to help her find her mom is enough for him to coerce her into his green card marriage plot. She even tells Charles she feels sorry for him because he's the loneliest person she's ever met, but at most, he got one line expressing this to her ("I'm tired of being alone and life is the only way out!"). I think if we had a scene of say, him teaching Lydia how to be a ghost, or at least one where they got to know each other better, it wouldn't feel as noticeable.

* CapriciousSalmon: Regardless of what people think about the musical adaptation of ''Theatre/Beetlejuice'', I think it's a great show, albeit some things are a little rushed. I've honestly never related to a musical character as much as I have with Lydia (Heather McNamara is a close second). Act 1 ends with her summoning him to sic on Charles, Delia, the Deans and their associates, kicking them out of the house. Beetlejuice then enchants the place with his magic and takes up residence. Then we skip to three days later where the pair have become close friends, scaring anybody who wanders by. Beetlejuice also implicitly keeps the Maitlands trapped in the attic, since they're too scared to do anything to oppose him (or you know, banish him, but that's neither here, nor there). I have no problem with the friendship, but my DMOS is how much of its development happens off-screen. In context of the play, Lydia only knew BJ for, at most, a few minutes before the Day-O incident, and she made it clear she didn't want his help for obvious reasons and threw him off the roof to emphasize this. But suddenly, they're inseparable kindred spirits, to the point where Lydia "leaving" him when he refuses to help her find her mom is enough for him to coerce her into his green card plot. She even tells Charles she feels sorry for him because he's the loneliest person she's ever met, but at most, he got one line expressing this to her ("I'm tired of being alone and life is the only way out!"). I think if we a scene of say, him teaching Lydia how to be a ghost, or at least one where they got to know each other better, it wouldn't feel as noticeable.

* CapriciousSalmon: Regardless of what people think about the musical adaptation of ''Theatre/Beetlejuice'', I think it's a great show, albeit some things are a little rushed. I've honestly never related to a theatre character as much as I have with Lydia. Act 1 ends with her summoning him to sic on Charles, Delia, the Deans and their associates, kicking them out of the house. Beetlejuice then enchants the place with his magic and takes up residence. Then we skip to three days later where the pair have become close friends, scaring anybody who wanders by the house. Beetlejuice also implicitly keeps the Maitlands trapped in the attic, since they're too scared to do anything to oppose him (or you know, banish him, but that's neither here, nor there). I have no problem with the friendship, but my DMOS is how they skip over its development. In context of the play, Lydia only knew BJ for, at most, a few minutes before the Day-O incident, and she made it clear she didn't want his help for obvious reasons and threw him off the roof to emphasize this. But suddenly, they're inseparable kindred spirits, to the point where Lydia "leaving" him when he refuses to help her find her mom is enough for him to coerce her into his green card plot. She even tells Charles she feels sorry for him because he's the loneliest person she's ever met, but at most, they got one scene together expressing this. I think if we had one more scene between them, or at least one where they get to know each other better, it wouldn't feel as noticeable.

[[AC: {{Software}}]]
* PrivateerMan: A few years ago, a company called Mixamo released a program called Fuse via Steam, with a pretty big price tag. This program could be used to create unique character models in a variety of styles, and while some clothing options were slightly limited, the program was useful for everyone who wanted to easily create 3D characters for other animation programs like Source Filmmaker, Garry's Mod, Unreal Engine 4, and the like. Around 2014, Mixamo is purchased by Adobe, who makes Fuse free, and allows a preview version to be downloaded as part of their Creative Cloud service. Many people who purchased the program beforehand were angry, since they basically wasted money, but the change was mostly accepted, because the program was more accessible to people with a low budget, even though Adobe's support for the Steam version was essentially axed. Come December 15th, 2016, Mixamo announces that they have cut out the exporting options for Source Filmmaker, Garry's Mod, Dota 2, and Unreal Engine 4, with a very poorly explained and weak reason, and wasting the time of anyone who didn't already make all their needed assets for their projects, since they cannot go on except to use a program like Blender and perform a long, tedious and frankly painful process of conversion. The worst thing is, this update came completely without warning, and when it did, nobody was notified of it occurring, so people found out only when they logged into their Mixamo accounts and found that their hard work creating well-made characters for use in SFM was now completely wasted. It's little surprise why 95% of all Steam reviews for Fuse are now negative, including this Troper's. However, due to a lack of popularity or viral marketing for Fuse, it's unlikely that the protests of the outraged users will get even noticed by anyone, leaving Fuse, a program with a lot of potential to do excellent things, completely unusable for a large amount of it's userbase.