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* From the 1950's to 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities. They tended to be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. On paper, the special _seemed_ competent: Tom O'Connor was a safe choice in presenter, having hosted a number of notable light entertainment programmes and game shows of the era. The Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz and ''Series/NameThatTune'' vocalist Maggie Moone to join the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe players (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
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* From the 1950's to 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities. They tended to be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. On paper, the special _seemed_ competent: appeared to have a good foundation: presenter Tom O'Connor was a safe choice in presenter, having hosted a number of notable familiar face on light entertainment programmes and game shows of the era. The era, the Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz and ''Series/NameThatTune'' vocalist Maggie Moone to join perform alongside the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe players (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
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Changed line(s) 280 (click to see context) from:
* From the 1950's to 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities. They tended to be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. Tom O'Connor was a safe choice in presenter, having hosted a number of notable light entertainment programmes and game shows of the era. The Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz and ''Series/NameThatTune'' vocalist Maggie Moone to join the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe players (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
to:
* From the 1950's to 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities. They tended to be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. On paper, the special _seemed_ competent: Tom O'Connor was a safe choice in presenter, having hosted a number of notable light entertainment programmes and game shows of the era. The Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz and ''Series/NameThatTune'' vocalist Maggie Moone to join the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe players (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
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Changed line(s) 280 (click to see context) from:
* From the 1950's to 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities. They tended to be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. Tom O'Connor was a safe choice in presenter, having hosted a number of notable light entertainment programmes and game shows of the era. The Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz and ''Series/NameThatTune'' vocalist Maggie Moone to join the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe performers (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
to:
* From the 1950's to 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities. They tended to be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. Tom O'Connor was a safe choice in presenter, having hosted a number of notable light entertainment programmes and game shows of the era. The Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz and ''Series/NameThatTune'' vocalist Maggie Moone to join the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe performers players (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
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Crosswicking
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* On paper, adapting UsefulNotes/WinstonChurchill's four-volume ''A History of the English-Speaking Peoples'' into the 1974-75 miniseries '''''Churchill's People''''' seemed like a winning formula for a big dramatic prestige project. In practice, the books focus far more on political and military minutiae than on narrative,[[note]]Churchill's political rival UsefulNotes/ClementAttlee quipped that the books should have been called ''Things in History That Interested Me''.[[/note]] forcing the writers to invent their own characters and stories to bring key moments in the history of Britain and its former colonies to life. As almost every episode had a different writer and a different director, the quality of the scripts varied hugely (with many characters speaking almost entirely in InfoDump monologues), as did the quality of the performances despite the veritable "who's who" of acting talent across the series.[[note]]Just to give a sample from each episode (in order): Creator/PaulDarrow; Creator/RichardJohnson, Creator/ArthurLowe, and Creator/DavidProwse; Creator/LeoMcKern and Creator/RobertHardy; Alan Howard, Creator/AnnaMassey, Creator/BrianBlessed, and Creator/PatrickStewart; [[Series/TheSweeney Dennis Waterman]]; [[Series/TheSixWivesOfHenryVIII Angela Pleasence]]; Creator/JulianGlover; Creator/PatrickTroughton; Creator/RichardOCallaghan; Creator/BrianCox, [[Series/{{Porridge}} Fulton Mackay]], and Creator/JamesCosmo; Creator/MichaelJayston; [[Film/HarryPotterAndTheChamberOfSecrets Gemma Jones]] and Creator/MichaelSheard; Robert Lang; Creator/GarethThomas; Patsy Kensit (then a child star); Creator/IanHendry, Polly James, and Annette Crosbie; [[Series/GetSomeIn Tony Selby]] and [[Series/{{Poldark}} Robin Ellis]]; Creator/MichaelKitchen; George Sewell; Tom Conti, Rita Webb, and Creator/RogerLloydPack; [[Film/ChariotsOfFire Ian Charleson]]; Geoffrey Palmer and Creator/JeremyIrons; [[Series/TheLikelyLads Rodney Bewes]]; Creator/EdwardFox and Creator/JacquelinePearce; Nickolas Grace; Creator/PeterBowles.[[/note]] But by far the worst problem was the tiny budget (slashed as a result of the energy crisis to just £1.25 million for 26 episodes), which forced the episodes to be shot entirely on cheap studio sets, even for outdoor scenes. The result was a series that was both suffocatingly dull and embarrassingly low grade. Critics had their knives out immediately; ''The Sunday Telegraph'' described it as "a co-production disaster"[[note]]The co-producer was Time-Life Productions, who planned to air the series on Creator/{{PBS}} - to similarly dismal returns.[[/note]] that "not only sounds like a school's radio programme, it looks like it too," while Nancy Banks-Smith in ''The Guardian'' described it as having "little to offer us but blood, horsehair, and history. Though a hell of a lot of each." Though it was originally scheduled for Mondays at 9:25pm, rapidly plummeting audience figures (down to a pathetic 1 million by Episode 9) forced the BBC to cut their losses by putting ''Series/{{Kojak}}'' in the time slot instead and burning off the rest of ''Churchill's People'' in a graveyard slot. It has never been repeated or released on DVD.
to:
* On paper, adapting UsefulNotes/WinstonChurchill's four-volume ''A History of the English-Speaking Peoples'' into the 1974-75 miniseries '''''Churchill's People''''' seemed like a winning formula for a big dramatic prestige project. In practice, the books focus far more on political and military minutiae than on narrative,[[note]]Churchill's political rival UsefulNotes/ClementAttlee quipped that the books should have been called ''Things in History That Interested Me''.[[/note]] forcing the writers to invent their own characters and stories to bring key moments in the history of Britain and its former colonies to life. As almost every episode had a different writer and a different director, the quality of the scripts varied hugely (with many characters speaking almost entirely in InfoDump monologues), as did the quality of the performances despite the veritable "who's who" of acting talent across the series.[[note]]Just to give a sample from each episode (in order): Creator/PaulDarrow; Creator/RichardJohnson, Creator/ArthurLowe, and Creator/DavidProwse; Creator/LeoMcKern and Creator/RobertHardy; Alan Howard, Creator/AnnaMassey, Creator/BrianBlessed, and Creator/PatrickStewart; [[Series/TheSweeney Dennis Waterman]]; [[Series/TheSixWivesOfHenryVIII Angela Pleasence]]; Creator/JulianGlover; Creator/PatrickTroughton; Creator/RichardOCallaghan; Creator/BrianCox, [[Series/{{Porridge}} Fulton Mackay]], and Creator/JamesCosmo; Creator/MichaelJayston; [[Film/HarryPotterAndTheChamberOfSecrets Gemma Jones]] and Creator/MichaelSheard; Robert Lang; Creator/GarethThomas; Patsy Kensit (then a child star); Creator/IanHendry, Polly James, and Annette Crosbie; Creator/AnnetteCrosbie; [[Series/GetSomeIn Tony Selby]] and [[Series/{{Poldark}} Robin Ellis]]; Creator/MichaelKitchen; George Sewell; Tom Conti, Rita Webb, and Creator/RogerLloydPack; [[Film/ChariotsOfFire Ian Charleson]]; Geoffrey Palmer and Creator/JeremyIrons; [[Series/TheLikelyLads Rodney Bewes]]; Creator/EdwardFox and Creator/JacquelinePearce; Nickolas Grace; Creator/PeterBowles.[[/note]] But by far the worst problem was the tiny budget (slashed as a result of the energy crisis to just £1.25 million for 26 episodes), which forced the episodes to be shot entirely on cheap studio sets, even for outdoor scenes. The result was a series that was both suffocatingly dull and embarrassingly low grade. Critics had their knives out immediately; ''The Sunday Telegraph'' described it as "a co-production disaster"[[note]]The co-producer was Time-Life Productions, who planned to air the series on Creator/{{PBS}} - to similarly dismal returns.[[/note]] that "not only sounds like a school's radio programme, it looks like it too," while Nancy Banks-Smith in ''The Guardian'' described it as having "little to offer us but blood, horsehair, and history. Though a hell of a lot of each." Though it was originally scheduled for Mondays at 9:25pm, rapidly plummeting audience figures (down to a pathetic 1 million by Episode 9) forced the BBC to cut their losses by putting ''Series/{{Kojak}}'' in the time slot instead and burning off the rest of ''Churchill's People'' in a graveyard slot. It has never been repeated or released on DVD.
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* '''''Series/{{Heathers}}''''' is a modernized adaptation of the CultClassic [[Film/{{Heathers}} film of the same name]] (as well as the equally Cult [[Theatre/{{Heathers}} musical]]). The series has the same premise, but includes a SettingUpdate that turns the titular GirlPosse into a group of marginalized people. A set-up with potential, but instead of making the Heathers popular for similar reasons as the original ([[RichBitch wealth]], [[AlphaBitch status]], [[BeautyIsBad attractiveness]]), the [[FanNickname "Peathers"]] (Paramount Heathers) are popular because [[FlawlessToken they are marginalized]], which sends all sorts of UnfortunateImplications[[invoked]]. Not only does the series appeal to ''[[AudienceAlienatingPremise nobody]]'', since every side of the political spectrum believes it was created to appeal to the other, it also has [[DullSurprise mostly bad acting]][[note]]with the Heathers being considered more enduring while Veronica and JD sound like they're reading their lines from a teleprompter[[/note]], a really poor understanding of the original movie and modern culture in general[[note]]Like Heather Duke being changed into a trans woman, only to reveal that they only pretended to be trans "in order to fit in"[[/note]] and barely any likable characters, along with being consistently postponed [[DistancedFromCurrentEvents due to the scenes of gun violence during a period of frequent mass shootings in the United States]]. WebVideo/SarahZ points out every flaw of the show [[https://www.youtube.com/watch?v=ZgE87HYvkN8 here]].
to:
* '''''Series/{{Heathers}}''''' '''''Series/Heathers2018''''' is a modernized adaptation of the CultClassic [[Film/{{Heathers}} film of the same name]] (as well as the equally Cult [[Theatre/{{Heathers}} musical]]). The series has the same premise, but includes a SettingUpdate that turns the titular GirlPosse into a group of marginalized people. A set-up with potential, but instead of making the Heathers popular for similar reasons as the original ([[RichBitch wealth]], [[AlphaBitch status]], [[BeautyIsBad attractiveness]]), the [[FanNickname "Peathers"]] (Paramount Heathers) are popular because [[FlawlessToken they are marginalized]], which sends all sorts of UnfortunateImplications[[invoked]]. Not only does the series appeal to ''[[AudienceAlienatingPremise nobody]]'', since every side of the political spectrum believes it was created to appeal to the other, it also has [[DullSurprise mostly bad acting]][[note]]with the Heathers being considered more enduring while Veronica and JD sound like they're reading their lines from a teleprompter[[/note]], a really poor understanding of the original movie and modern culture in general[[note]]Like Heather Duke being changed into a trans woman, only to reveal that they only pretended to be trans "in order to fit in"[[/note]] and barely any likable characters, along with being consistently postponed [[DistancedFromCurrentEvents due to the scenes of gun violence during a period of frequent mass shootings in the United States]]. WebVideo/SarahZ points out every flaw of the show [[https://www.youtube.com/watch?v=ZgE87HYvkN8 here]].
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Changed line(s) 134 (click to see context) from:
* The 1972 London Weekend Television sitcom '''''Series/InForAPenny''''' was, improbably, written by ''Series/UpstairsDownstairs'' creators John Hawkesworth and John Whitney and starred ''Benny Hill Show'' straight man Bob Todd as long-serving gentleman's lavatory attendant Dan (as in "Dan, Dan, the lavatory man"), whose place of employ was in the basement of the local Town Hall. The scripts were crass and retrograde even by the standards of the day, with a seemingly endless supply of ToiletHumour and racist jokes at the expense of Dan's Pakistani co-worker Ali (played by Greco-Armenian actor Kevork Malikyan). It ran for a single series of six episodes and has never been re-run or released on home video. Mark Lewisohn flushed it down to the #4 spot on his "20 worst British sitcoms" list in ''The ''Radio Times'' Guide to TV Comedy'', in which he described it as "one of the worst sitcoms ever" and "real bog-standard stuff".
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* The 1972 London Weekend Television sitcom '''''Series/InForAPenny''''' was, improbably, written by ''Series/UpstairsDownstairs'' creators John Hawkesworth and John Whitney and starred ''Benny Hill Show'' straight man Bob Todd as long-serving gentleman's lavatory attendant Dan (as in "Dan, Dan, the lavatory man"), whose place of employ was in the basement of the local Town Hall. The scripts were crass and retrograde even by the standards of the day, with a seemingly endless supply of ToiletHumour and racist jokes at the expense of Dan's Pakistani co-worker Ali (played by Greco-Armenian actor Kevork Malikyan). It ran for a single series of six episodes and has never been re-run or released on home video.video due to the fact that [[MissingEpisode all episodes have been wiped]], a fact that won't cause much dismay. Mark Lewisohn flushed it down to the #4 spot on his "20 worst British sitcoms" list in ''The ''Radio Times'' Guide to TV Comedy'', in which he described it as "one of the worst sitcoms ever" and "real bog-standard stuff".
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Crosswicking
Changed line(s) 134 (click to see context) from:
* The 1972 London Weekend Television sitcom '''''In for a Penny''''' was, improbably, written by ''Series/UpstairsDownstairs'' creators John Hawkesworth and John Whitney and starred ''Benny Hill Show'' straight man Bob Todd as long-serving gentleman's lavatory attendant Dan (as in "Dan, Dan, the lavatory man"), whose place of employ was in the basement of the local Town Hall. The scripts were crass and retrograde even by the standards of the day, with a seemingly endless supply of ToiletHumour and racist jokes at the expense of Dan's Pakistani co-worker Ali (played by Greco-Armenian actor Kevork Malikyan). It ran for a single series of six episodes and has never been re-run or released on home video. Mark Lewisohn flushed it down to the #4 spot on his "20 worst British sitcoms" list in ''The ''Radio Times'' Guide to TV Comedy'', in which he described it as "one of the worst sitcoms ever" and "real bog-standard stuff".
to:
* The 1972 London Weekend Television sitcom '''''In for a Penny''''' '''''Series/InForAPenny''''' was, improbably, written by ''Series/UpstairsDownstairs'' creators John Hawkesworth and John Whitney and starred ''Benny Hill Show'' straight man Bob Todd as long-serving gentleman's lavatory attendant Dan (as in "Dan, Dan, the lavatory man"), whose place of employ was in the basement of the local Town Hall. The scripts were crass and retrograde even by the standards of the day, with a seemingly endless supply of ToiletHumour and racist jokes at the expense of Dan's Pakistani co-worker Ali (played by Greco-Armenian actor Kevork Malikyan). It ran for a single series of six episodes and has never been re-run or released on home video. Mark Lewisohn flushed it down to the #4 spot on his "20 worst British sitcoms" list in ''The ''Radio Times'' Guide to TV Comedy'', in which he described it as "one of the worst sitcoms ever" and "real bog-standard stuff".
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Crosswicking
Changed line(s) 64 (click to see context) from:
* '''''Triangle''''' was a 1980s soap opera set on board a ferry that sailed a "triangular" route between Felixstowe, Gothenburg and Amsterdam. It was known for horrible sets, cliché storylines and stilted dialogue that made it a subject of regular public mockery, including on ''Series/TheYoungOnes'' and by Radio/TerryWogan on his radio show. The final nail in the show's coffin was the production problems associated with filming on location at sea, such as lighting, power supply, and rough seas playing havoc with the then-new Electronic Field Production technique. [[note]]Yes, you read that right. They actually forsook soundstages to film on board ''a working ferry at sea''; never mind the cramped conditions with all the cameras, lighting and mikes, the North Sea's famously harsh conditions, or the aforementioned logistical problems.[[/note]] All of these technical flaws were very apparent in the finished product; and the grim North Seas weather put paid to any hopes of glamor, instead making the ferry and surroundings look exactly as shabby as they were. The show dragged on for three years before being cancelled and was an expensive flop for the BBC, also taking down the careers of some of the cast. ''Triangle'' regularly appears in shows and articles about embarrassingly bad TV, and in 2010 was voted third worst in a poll of the worst British television shows ever; it's infamous for a scene in the first episode where Kate O'Mara sunbathes topless on the deck of the ferry, even though she's clearly freezing cold and it's raining. When even ''Series/TheYoungOnes'' makes jokes about how cheap your sets' furnishings are, you know your show's in trouble.
to:
* '''''Triangle''''' was a 1980s soap opera set on board a ferry that sailed a "triangular" route between Felixstowe, Gothenburg and Amsterdam. It was known for horrible sets, cliché storylines and stilted dialogue that made it a subject of regular public mockery, including on ''Series/TheYoungOnes'' and by Radio/TerryWogan on his radio show. The final nail in the show's coffin was the production problems associated with filming on location at sea, such as lighting, power supply, and rough seas playing havoc with the then-new Electronic Field Production technique. [[note]]Yes, you read that right. They actually forsook soundstages to film on board ''a working ferry at sea''; never mind the cramped conditions with all the cameras, lighting and mikes, the North Sea's famously harsh conditions, or the aforementioned logistical problems.[[/note]] All of these technical flaws were very apparent in the finished product; and the grim North Seas weather put paid to any hopes of glamor, instead making the ferry and surroundings look exactly as shabby as they were. The show dragged on for three years before being cancelled and was an expensive flop for the BBC, also taking down the careers of some of the cast. ''Triangle'' regularly appears in shows and articles about embarrassingly bad TV, and in 2010 was voted third worst in a poll of the worst British television shows ever; it's infamous for a scene in the first episode where Kate O'Mara Creator/KateOMara sunbathes topless on the deck of the ferry, even though she's clearly freezing cold and it's raining. When even ''Series/TheYoungOnes'' makes jokes about how cheap your sets' furnishings are, you know your show's in trouble.
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* Britain is typically known for creating good shows that received inferior remakes in the U.S., but it's also been known to happen the other way around. Case in point: '''''Days Like These''''', an inexcusable remake of ''Series/That70sShow''. Every episode had the exact same plot and situations as the episode of its US counterpart before it, but rewritten so that it fits the British setting and characters, and they just couldn't nail it. The jokes very seldom made sense and at times were downright awkward, the pacing was hideous, the staging and blocking were depressing to watch, and the whole thing just ended up being one giant trainwreck. The show had a total of 13 episodes, but only 10 were ever aired in the initial run (all 13 were eventually shown), and a good lesson was learned with regards to the difference between American and British senses of humor, ending the idea of British remakes of American works as a whole. ''Series/TheGoldenGirls'', ''Series/MarriedWithChildren'', ''Series/MadAboutYou'', ''Series/GoodTimes'' and ''Series/WhosTheBoss'', among others, were also translated as ''Brighton Belles'', ''Married For Life'', ''Loved By You'', ''The Fosters'' and ''The Upper Hand''. With the exception of the last-named, none of them worked.[[note]] ''The Fosters'' wasn't ''too'' bad, and had a young Lenny Henry in it. What killed it was Henry's commitments to other shows making it almost impossible to film.[[/note]]
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* Britain is typically known for creating good shows that received inferior remakes in the U.S., but it's also been known to happen the other way around. Case in point: '''''Days Like These''''', an inexcusable remake of ''Series/That70sShow''. Every episode had the exact same plot and situations as the episode of its US counterpart before it, but rewritten so that it fits the British setting and characters, and they just couldn't nail it. The jokes very seldom made sense and at times were downright awkward, the pacing was hideous, the staging and blocking were depressing to watch, and the whole thing just ended up being one giant trainwreck. The show had a total of 13 episodes, but only 10 were ever aired in the initial run (all 13 were eventually shown), and a good lesson was learned with regards to the difference between American and British senses of humor, ending the idea of British remakes of American works as a whole. ''Series/TheGoldenGirls'', ''Series/MarriedWithChildren'', ''Series/MadAboutYou'', ''Series/GoodTimes'' and ''Series/WhosTheBoss'', among others, were also translated as ''Brighton Belles'', ''Married For Life'', ''Loved By You'', ''The Fosters'' and ''The Upper Hand''. With the exception of the last-named, none of them worked.[[note]] ''The Fosters'' wasn't ''too'' bad, and had a young Lenny Henry Creator/LennyHenry in it. What killed it was Henry's commitments to other shows making it almost impossible to film.[[/note]]
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** The 30th-Anniversary Special '''[[Recap/DoctorWho30thASDimensionsInTime "Dimensions in Time"]]''', which is considered definitively the lowest the show could possibly sink. This one needs to be understood in context: As the show was canned a few years before, fans were excited to get ''any'' new TV canon and instead got something so embarrassingly bad that everyone immediately felt stupid about liking the show. The story is a completely nonsensical crossover with ''Series/EastEnders'' -- for no particular reason, other than it was dirt-cheap to film - with various past Doctors and companions morphing into each other for no reason. There are terrifying floating CGI heads of the posthumous Doctors. The only good thing is Kate O'Mara [[HamAndCheese camping her way through her awful dialogue as much as possible]].
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** The 30th-Anniversary Special '''[[Recap/DoctorWho30thASDimensionsInTime "Dimensions in Time"]]''', which is considered definitively the lowest the show could possibly sink. This one needs to be understood in context: As the show was canned a few years before, fans were excited to get ''any'' new TV canon and instead got something so embarrassingly bad that everyone immediately felt stupid about liking the show. The story is a completely nonsensical crossover with ''Series/EastEnders'' -- for no particular reason, other than it was dirt-cheap to film - with various past Doctors and companions morphing into each other for no reason. There are terrifying floating CGI heads of the posthumous Doctors. The only good thing is Kate O'Mara Creator/KateOMara [[HamAndCheese camping her way through her awful dialogue as much as possible]].
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* On December 31, 2012, local UsefulNotes/LosAngeles (well, technically Orange County) independent station KDOC decided to air a '''New Year's Eve special''' hosted by Creator/JamieKennedy. That was only the tip of the iceberg for what ''The A.V. Club'' dubbed the "''Jamie Kennedy Falling Apart At The Seams New Year's Eve 2013 Spectacular''", as the world found out after Creator/PattonOswalt [[https://twitter.com/pattonoswalt/status/286705909474922496 tweeted]] about it: there were awkward glitches and dead air, the beginning of an interview with Creator/ShannonElizabeth accidentally started with a shot of Kennedy moping about onstage, hot mics picked up strange discussions peppered with F-bombs from the host and crew, [[https://www.youtube.com/watch?list=PLc_hA_XT7khL554M8KT1mX9yEwIajfrnt&v=JzTCkqTwBcU racist sketches where Jamie Kennedy played a Mayan]] (while dressed like a [[BraidsBeadsAndBuckskins stereotypical Native American]], no less) who went to the Commerce Casino to try to regain his people's lost gold, while a potentially drunk Macy Gray and an uncensored(!) Music/BoneThugsNHarmony serenaded the audience celebrating the arrival of the year 1999. Even worse, they managed to ''botch up the most important part of a New Year's special'' by having Kennedy not able to find the clock for the countdown, and counted down ten seconds late. At the end of the show, Kennedy proclaimed that he would "see you in 2024!" and that the show was ending in a fight. On cue, a fight broke out onstage during the (silent) credits. [[https://www.youtube.com/watch?v=4lzWmDIY9Zk It has to be seen to be believed]] (though given how desperately KDOC seems to want to consign this to the memory hole, you may have to make do with [[http://www.avclub.com/articles/epic-boondoggle-case-file-32-jamie-kennedys-first,91159/ Nathan Rabin's account for the AV Club]]). Kennedy has since [[http://www.mediabistro.com/tvspy/host-of-kdocs-chaotic-new-years-special-it-was-totally-supposed-to-be-like-that_b75731 claimed]] that [[ParodyRetcon the entire thing was meant to be that bad]].
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* On December 31, 2012, local UsefulNotes/LosAngeles (well, technically Orange County) independent station KDOC decided to air a '''New Year's Eve special''' hosted by Creator/JamieKennedy. That was only the tip of the iceberg for what ''The A.V. Club'' dubbed the "''Jamie Kennedy Falling Apart At The Seams New Year's Eve 2013 Spectacular''", as the world found out after Creator/PattonOswalt [[https://twitter.com/pattonoswalt/status/286705909474922496 tweeted]] about it: there were awkward glitches and dead air, the beginning of an interview with Creator/ShannonElizabeth accidentally started with a shot of Kennedy moping about onstage, hot mics picked up strange discussions peppered with F-bombs from the host and crew, [[https://www.youtube.com/watch?list=PLc_hA_XT7khL554M8KT1mX9yEwIajfrnt&v=JzTCkqTwBcU racist sketches where Jamie Kennedy played a Mayan]] (while dressed like a [[BraidsBeadsAndBuckskins stereotypical Native American]], no less) who went to the Commerce Casino to try to regain his people's lost gold, while a potentially drunk Macy Gray and an uncensored(!) Music/BoneThugsNHarmony serenaded the audience celebrating the arrival of the year 1999. Even worse, they managed to ''botch up the most important part of a New Year's special'' by having Kennedy not able to find the clock for the countdown, and counted down ten seconds late. At the end of the show, Kennedy proclaimed that he would "see you in 2024!" and that the show was ending in a fight. On cue, a fight broke out onstage during the (silent) credits. [[https://tubitv.com/movies/671886/jamie-kennedy-new-year-s-eve It has to be seen to be believed.]] Watch the lowlights [[https://www.youtube.com/watch?v=4lzWmDIY9Zk It has to be seen to be believed]] (though given how desperately KDOC seems to want to consign this to the memory hole, you may have to make do with [[http://www.here]] or read [[https://www.avclub.com/articles/epic-boondoggle-case-file-32-jamie-kennedys-first,91159/ com/epic-boondoggle-case-file-32-jamie-kennedy-s-first-n-1798235712 Nathan Rabin's account for the AV Club]]). Club here.]] Kennedy has since [[http://www.mediabistro.com/tvspy/host-of-kdocs-chaotic-new-years-special-it-was-totally-supposed-to-be-like-that_b75731 claimed]] that [[ParodyRetcon the entire thing was meant to be that bad]].
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* That is, until 1998, when the BBC -- having not learned their lesson from last time -- decided to try again with '''''New Year Live'''''. With two well-known Scots -- comedian Fred [=MacAulay=] and Carol Smillie (of ''Changing Rooms'' and ''Series/WheelOfFortune'' fame) -- as hosts, what could possibly go wrong? Quite a lot, actually, resulting in what was easily the closest British equivalent to the Creator/JamieKennedy debacle that played out a decade and change later (see under KDOC-TV). The producer was an Englishwoman who was more experienced in daytime magazines than a live, prime time entertainment special, and it was clear from the start that the special was going to water down Hogmanay to "we're gonna have a rowdy party in a Scottish castle with celebrities". That tone was established within its opening, where the duo arrived at Edinburgh Castle in a [[SarcasmMode traditional Scottish]] helicopter, before being escorted onto the grounds on motorcycles, and introducing [[Music/DuranDuran a band from Manchester]] singing [[Music/RioAlbum a song about Rio]]. The hosting was amateur (with Smillie -- who tended to be the [[StraightManAndWiseGuy Straight Woman to her co-host's Wise Guy]] -- repeatedly having to drag [=MacAulay=] back into the frame when he couldn't find the camera), technical snafus (such as mistimed cues on the pre-recorded segments), unfunny comedy bits (primarily about butts, given Smillie's [[BuxomIsBetter "Rear of the Year"]] award), and so on. Once again, critics from the North and abroad agreed that it was awful, and subsequent Hogmanay specials remained exclusive to BBC One in Scotland, with the rest of the network taking coverage from London instead (and the BBC putting on the much more comprehensive ''2000 Today'' the following year to welcome the new millennium).
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* That is, until 1998, when the BBC -- having not learned their lesson from last time -- decided to try again with '''''New Year Live'''''. With two well-known Scots -- comedian Fred [=MacAulay=] and Carol Smillie (of ''Changing Rooms'' and ''Series/WheelOfFortune'' fame) -- as hosts, what could possibly go wrong? Quite a lot, actually, resulting in what was easily the closest British equivalent to the Creator/JamieKennedy debacle that played out a decade and change later (see under KDOC-TV). The producer was an Englishwoman who was more experienced in daytime magazines than a live, prime time entertainment special, and it was clear from the start that the special was going to water down Hogmanay to "we're gonna have a rowdy party in a Scottish castle with celebrities". That tone was established within its opening, where the duo arrived at Edinburgh Castle in a [[SarcasmMode traditional Scottish]] helicopter, before being escorted onto the grounds on motorcycles, and introducing [[Music/DuranDuran a band from Manchester]] singing [[Music/RioAlbum a song about Rio]]. The hosting was amateur (with Smillie -- who tended to be the [[StraightManAndWiseGuy Straight Woman to her co-host's Wise Guy]] -- repeatedly having to drag [=MacAulay=] back into the frame when he couldn't find the camera), and there were technical snafus (such as mistimed cues on the pre-recorded segments), unfunny comedy bits (primarily about butts, given Smillie's [[BuxomIsBetter "Rear of the Year"]] award), and so on. Once again, critics from the North and abroad agreed that it was awful, and subsequent Hogmanay specials remained exclusive to BBC One in Scotland, with the rest of the network taking coverage from London instead (and the BBC putting on the much more comprehensive ''2000 Today'' the following year to welcome the new millennium).
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* From the 1950's to 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities. They tended to be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. Tom O'Connor was a safe choice in presenter, having hosted a number of notable light entertainment programmes and game shows of the era. The Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz, ''Series/NameThatTune'' vocalist Maggie Moone to join the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe performers (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
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* From the 1950's to 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities. They tended to be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. Tom O'Connor was a safe choice in presenter, having hosted a number of notable light entertainment programmes and game shows of the era. The Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz, Fizz and ''Series/NameThatTune'' vocalist Maggie Moone to join the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe performers (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
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* In 1998, the BBC tried to bring Scotland's Hogmanay festivities to national TV for the first time since 1985 with '''''New Year Live''''': with two well-known Scots -- comedian Fred [=MacAulay=] and Carol Smillie (of ''Changing Rooms'' and ''Series/WheelOfFortune'' fame) -- as hosts, what could possibly go wrong? Quite a lot, actually, resulting in what was easily the closest British equivalent to the Creator/JamieKennedy debacle that played out a decade and change later (see under KDOC-TV). The producer was an Englishwoman who was more experienced in daytime magazines than a live, prime time entertainment special, and it was clear from the start that the special was going to water down the traditions of Hogmanay to something palatable to non-Scots: this wound up being, "we're gonna have a rowdy party in a Scottish castle with celebrities". That tone was established within its opening act, where the duo arrived at Edinburgh Castle in a [[SarcasmMode traditional Scottish]] helicopter, before being escorted onto the grounds on motorcycles, and introducing [[Music/DuranDuran a band from Manchester]] singing [[Music/RioAlbum a song about Rio]]. The hosting was amateur (with Smillie -- who tended to be the [[StraightManAndWiseGuy Straight Woman to her co-host's Wise Guy]] -- repeatedly having to drag [=MacAulay=] back into the frame when he couldn't find the camera), technical snafus (such as mistimed cues on the pre-recorded segments), unfunny comedy sketches and bits (primarily about butts, as Smillie was the [[BuxomIsBetter "Rear of the Year"]] for 1998), and so on. Critics (and ''especially'' columnists from Scottish newspapers) agreed that the special was awful, and that it was an auld acquaintance that ''really'' needed to be forgotten. Subsequent Hogmanay specials remained exclusive to BBC One in Scotland, with the rest of the network taking coverage from London instead (and the BBC putting on the much more comprehensive ''2000 Today'' the following year to welcome the new millennium).
to:
* In 1998, From the BBC tried 1950's to bring Scotland's 1985, a television fixture in Britain had been [[NewYearHasCome New Year's specials]] from Scotland, themed around the country's traditional Hogmanay festivities festivities. They tended to national TV be kitschy, overloaded with tartanry galore (because everyone knows Scotland is the land of [[ManInAKilt kilts]], accordions, and bagpipes), and comedy acts that the average viewer wouldn't understand unless they were a Scot themselves. They were influential enough that even Creator/{{ITV}} were doing its own as a competitor. In 1984, after the specials had become increasingly trashy and rowdy, the BBC decided to see if they could put together something classy that could showcase the distinct Scottish traditions, yet still be accessible to a wider audience. The result, '''''Live Into 85''''', was a disaster. Tom O'Connor was a safe choice in presenter, having hosted a number of notable light entertainment programmes and game shows of the era. The Gleneagles Hotel was well-equipped for a broadcast of this magnitude, and they had managed to book names such as Series/EurovisionSongContest winners Bucks Fizz, ''Series/NameThatTune'' vocalist Maggie Moone to join the lineup of largely Scottish mainstays. But then things fell apart: Bucks Fizz were replaced by Modern Romance after a tour bus crash in mid-December. The BBC couldn't exclusively book the venue, so many of the scenes were littered with revelers -- probably unaware they were on live television -- getting in the way, messing with the cameras (among other technical issues), and one even trying to put their hand up Moone's legs. John Grieve performed his New Year's poem, but [[{{Corpsing}} drunkenly stumbled on his first attempt]]. The "first-footer" -- the Scottish tradition of the first person to enter a home during a new year bringing good fortune -- was a confused Chic Murray, who had no idea what he was supposed to be doing because one of the bagpipe performers (who stayed in the ballroom after their performance because it was cold outside) was in the way of the teleprompter. He wasn't in good health either, and died the following month. The special was scalded by critics -- especially in Scotland -- who considered it an embarrassment to the country, and was an auld acquaintance that ''really'' needed to be forgotten (except [[https://www.youtube.com/watch?v=gCd9_4xJj2Q on YouTube]]). It also turned out to be a GenreKiller for Hogmanay-themed specials outside of Scotland, leading the BBC, as well as the other networks, to either reformat or abandon their specials altogether.
* That is, until 1998, when the BBC -- having not learned their lesson from last timesince 1985 -- decided to try again with '''''New Year Live''''': with Live'''''. With two well-known Scots -- comedian Fred [=MacAulay=] and Carol Smillie (of ''Changing Rooms'' and ''Series/WheelOfFortune'' fame) -- as hosts, what could possibly go wrong? Quite a lot, actually, resulting in what was easily the closest British equivalent to the Creator/JamieKennedy debacle that played out a decade and change later (see under KDOC-TV). The producer was an Englishwoman who was more experienced in daytime magazines than a live, prime time entertainment special, and it was clear from the start that the special was going to water down the traditions of Hogmanay to something palatable to non-Scots: this wound up being, "we're gonna have a rowdy party in a Scottish castle with celebrities". That tone was established within its opening act, opening, where the duo arrived at Edinburgh Castle in a [[SarcasmMode traditional Scottish]] helicopter, before being escorted onto the grounds on motorcycles, and introducing [[Music/DuranDuran a band from Manchester]] singing [[Music/RioAlbum a song about Rio]]. The hosting was amateur (with Smillie -- who tended to be the [[StraightManAndWiseGuy Straight Woman to her co-host's Wise Guy]] -- repeatedly having to drag [=MacAulay=] back into the frame when he couldn't find the camera), technical snafus (such as mistimed cues on the pre-recorded segments), unfunny comedy sketches and bits (primarily about butts, as Smillie was the given Smillie's [[BuxomIsBetter "Rear of the Year"]] for 1998), award), and so on. Critics (and ''especially'' columnists Once again, critics from Scottish newspapers) the North and abroad agreed that the special it was awful, and that it was an auld acquaintance that ''really'' needed to be forgotten. Subsequent subsequent Hogmanay specials remained exclusive to BBC One in Scotland, with the rest of the network taking coverage from London instead (and the BBC putting on the much more comprehensive ''2000 Today'' the following year to welcome the new millennium).
* That is, until 1998, when the BBC -- having not learned their lesson from last time
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* In 1998, the BBC tried to bring Scotland's Hogmanay festivities to national TV for the first time since 1985 with '''''New Year Live''''': with two well-known Scots -- comedian Fred [=MacAulay=] and Carol Smillie (of ''Changing Rooms'' and ''Series/WheelOfFortune'' fame) -- as hosts, what could possibly go wrong? Quite a lot, actually, resulting in what was easily the closest British equivalent to the Creator/JamieKennedy debacle that played out a decade and change later (see under KDOC-TV). The producer was an Englishwoman who was more experienced in daytime magazines than a live, prime time entertainment special, and it was clear from the start that the special was going to water down the traditions of Hogmanay to something palatable to non-Scots: this wound up being, "we're gonna have a rowdy party in a Scottish castle with celebrities". That tone was established within its opening act, where the duo arrived at Edinburgh Castle in a [[SarcasmMode traditional Scottish]] helicopter, before being escorted onto the grounds on motorcycles, and introducing [[Music/DuranDuran a band from Manchester singing a song about Rio]]. The hosting was amateur (with Smillie -- who tended to be the [[StraightManAndWiseGuy Straight Woman to her co-host's Wise Guy]] -- repeatedly having to drag [=MacAulay=] back into the frame when he couldn't find the camera), technical snafus (such as mistimed cues on the pre-recorded segments), unfunny comedy sketches and bits (primarily about butts, as Smillie was the [[BuxomIsBetter "Rear of the Year"]] for 1998), and so on. Critics (and ''especially'' columnists from Scottish newspapers) agreed that the special was awful, and that it was an auld acquaintance that ''really'' needed to be forgotten. Subsequent Hogmanay specials remained exclusive to BBC One in Scotland, with the rest of the network taking coverage from London instead (and the BBC putting on the much more comprehensive ''2000 Today'' the following year to welcome the new millennium).
to:
* In 1998, the BBC tried to bring Scotland's Hogmanay festivities to national TV for the first time since 1985 with '''''New Year Live''''': with two well-known Scots -- comedian Fred [=MacAulay=] and Carol Smillie (of ''Changing Rooms'' and ''Series/WheelOfFortune'' fame) -- as hosts, what could possibly go wrong? Quite a lot, actually, resulting in what was easily the closest British equivalent to the Creator/JamieKennedy debacle that played out a decade and change later (see under KDOC-TV). The producer was an Englishwoman who was more experienced in daytime magazines than a live, prime time entertainment special, and it was clear from the start that the special was going to water down the traditions of Hogmanay to something palatable to non-Scots: this wound up being, "we're gonna have a rowdy party in a Scottish castle with celebrities". That tone was established within its opening act, where the duo arrived at Edinburgh Castle in a [[SarcasmMode traditional Scottish]] helicopter, before being escorted onto the grounds on motorcycles, and introducing [[Music/DuranDuran a band from Manchester Manchester]] singing [[Music/RioAlbum a song about Rio]]. The hosting was amateur (with Smillie -- who tended to be the [[StraightManAndWiseGuy Straight Woman to her co-host's Wise Guy]] -- repeatedly having to drag [=MacAulay=] back into the frame when he couldn't find the camera), technical snafus (such as mistimed cues on the pre-recorded segments), unfunny comedy sketches and bits (primarily about butts, as Smillie was the [[BuxomIsBetter "Rear of the Year"]] for 1998), and so on. Critics (and ''especially'' columnists from Scottish newspapers) agreed that the special was awful, and that it was an auld acquaintance that ''really'' needed to be forgotten. Subsequent Hogmanay specials remained exclusive to BBC One in Scotland, with the rest of the network taking coverage from London instead (and the BBC putting on the much more comprehensive ''2000 Today'' the following year to welcome the new millennium).
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* In 1998, the BBC tried to bring Scotland's Hogmanay festivities to national TV for the first time since 1985 with '''''New Year Live''''': with two well-known Scots -- comedian Fred [=MacAulay=] and Carol Smillie (of ''Changing Rooms'' and ''Series/WheelOfFortune'' fame) -- as hosts, what could possibly go wrong? Quite a lot, actually, resulting in what was easily the closest British equivalent to the Creator/JamieKennedy debacle that played out a decade and change later (see under KDOC-TV). The producer was an Englishwoman who was more experienced in daytime magazines than a live, prime time entertainment special, and it was clear from the start that the special was going to water down the traditions of Hogmanay to something palatable to non-Scots: this wound up being, "we're gonna have a rowdy party in a Scottish castle with celebrities". That tone was established within its opening act, where the duo arrived at Edinburgh Castle in a [[SarcasmMode traditional Scottish]] helicopter, before being escorted onto the grounds on motorcycles, and introducing [[Music/DuranDuran a band from Manchester singing a song about Rio]]. The hosting was amateur (with Smillie -- who tended to be the [[StraightManAndWiseGuy Straight Woman to her co-host's Wise Guy]] -- repeatedly having to drag [=MacAulay=] back into the frame when he couldn't find the camera), technical snafus (such as mistimed cues on the pre-recorded segments), unfunny comedy sketches and bits (primarily about butts, as Smillie was the [[BuxomIsBetter "Rear of the Year"]] for 1998), and so on. Critics (and ''especially'' columnists from Scottish newspapers) agreed that the special was awful, and that it was an auld acquaintance that ''really'' needed to be forgotten. Subsequent Hogmanay specials remained exclusive to BBC One in Scotland, with the rest of the network taking coverage from London instead (and the BBC putting on the much more comprehensive ''2000 Today'' the following year to welcome the new millennium).
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I watched this review!
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* '''''Film/ManInTheMirrorTheMichaelJacksonStory''''': a cheap, made-for-TV biopic from 2004 that paints a very messy portrait of [[Music/MichaelJackson the King of Pop]] (the man himself even released [[https://www.today.com/popculture/jackson-stop-calling-me-wacko-jacko-wbna5772969 a statement]] denouncing it). Barely any of the characters looked like who they were portraying - including Flex Alexander's awful performance (read: impersonation) of Jackson, cringeworthy, overdramatic, and repetitive dialog, shaky camerawork, awkward cuts to actual news footage, inaccurate and exaggerated portrayals (especially Creator/ElizabethTaylor), and a sappy monologue about love. Even worse? As it was an unauthorized biography, it couldn't use any of Jackson's actual music, meaning that one of the greatest performers who ever lived is stuck dancing to royalty-free stock music.
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* '''''Film/ManInTheMirrorTheMichaelJacksonStory''''': a cheap, made-for-TV biopic from 2004 that paints a very messy portrait of [[Music/MichaelJackson the King of Pop]] (the man himself even released [[https://www.today.com/popculture/jackson-stop-calling-me-wacko-jacko-wbna5772969 a statement]] denouncing it). Barely any of the characters looked like who they were portraying - including Flex Alexander's awful performance (read: impersonation) of Jackson, cringeworthy, overdramatic, and repetitive dialog, shaky camerawork, awkward cuts to actual news footage, inaccurate and exaggerated portrayals (especially Creator/ElizabethTaylor), and a sappy monologue about love. Even worse? As it was an unauthorized biography, it couldn't use any of Jackson's actual music, meaning that one of the greatest performers who ever lived is stuck dancing to royalty-free stock music. WebVideo/DoubleToasted roasted it [[https://www.youtube.com/watch?v=2bC0QzP5aFY here]].
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Crosswicking
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* Most of the more successful sitcoms co-written by Jimmy Perry and David Croft were based on their personal experiences - serving in the Home Guard (''Series/DadsArmy''), performing in a wartime Concert Party (''Series/ItAintHalfHotMum''), working at Butlins Holiday Camp (''Series/HiDeHi'')... but Perry admitted that he knew nothing about the subject of one of his solo writing efforts, the horrendous 1979 Thames Television sitcom '''''Room Service''''', which follows the misadventures of Charles Spooner (Bryan Pringle), the tyrannical head of room service at a five-star hotel, and his thoroughly incompetent staff. Unfavourable comparisons to ''Series/FawltyTowers'' inevitably followed (not helped by Series 2 of ''Fawlty Towers'' airing in the same year), with Spooner described as Basil Fawlty but without the likeability (and Basil was hardly cuddly to begin with), while one of his underlings, Fedros (Michael Petrovitch), was an attempt at a Manuel-like FunnyForeigner also divested of likeability.[[note]] The supporting cast also included Matthew Kelly, two years before he became a household name as one of the original presenters of ''Game for a Laugh''.[[/note]] "I deserved everything I got," Perry later lamented. It was savaged by critics, while audiences tuned out in droves, leading it to be cancelled after a single series of seven episodes. Mark Lewisohn ranked it #10 on the list of the 20 worst British sitcoms in ''The ''Radio Times'' Guide to TV Comedy'', while BFI Screenonline columnist John Oliver (no, [[Creator/JohnOliver not that one]]) said ''Room Service'' and fellow Perry solo effort ''High Street Blues'' "remain contenders for the title of worst British sitcom".
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* Most of the more successful sitcoms co-written by Jimmy Perry and David Croft were based on their personal experiences - serving in the Home Guard (''Series/DadsArmy''), performing in a wartime Concert Party (''Series/ItAintHalfHotMum''), working at Butlins Holiday Camp (''Series/HiDeHi'')... but Perry admitted that he knew nothing about the subject of one of his solo writing efforts, the horrendous 1979 Thames Television sitcom '''''Room Service''''', which follows the misadventures of Charles Spooner (Bryan Pringle), (Creator/BryanPringle), the tyrannical head of room service at a five-star hotel, and his thoroughly incompetent staff. Unfavourable comparisons to ''Series/FawltyTowers'' inevitably followed (not helped by Series 2 of ''Fawlty Towers'' airing in the same year), with Spooner described as Basil Fawlty but without the likeability (and Basil was hardly cuddly to begin with), while one of his underlings, Fedros (Michael Petrovitch), was an attempt at a Manuel-like FunnyForeigner also divested of likeability.[[note]] The supporting cast also included Matthew Kelly, two years before he became a household name as one of the original presenters of ''Game for a Laugh''.[[/note]] "I deserved everything I got," Perry later lamented. It was savaged by critics, while audiences tuned out in droves, leading it to be cancelled after a single series of seven episodes. Mark Lewisohn ranked it #10 on the list of the 20 worst British sitcoms in ''The ''Radio Times'' Guide to TV Comedy'', while BFI Screenonline columnist John Oliver (no, [[Creator/JohnOliver not that one]]) said ''Room Service'' and fellow Perry solo effort ''High Street Blues'' "remain contenders for the title of worst British sitcom".
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* '''''Film/HomeAlone4: Taking Back the House''''' was a made-for-TV sequel to the theatrical series, intended to be a PilotMovie for a TV series, with ''none'' of the predecessors' cast. The "kid sees bad guys that adults can't see" had been overused by then (including ''3'', though that one was decent), and [[ContinuitySnarl your head will explode if you try to connect this film with the first two]]. Kevin's [[NotAllowedToGrowUp a year younger than in the second movie]]; Buzz is five years younger; the [=McCallisters=] divorced and the dad is dating a rich woman; and Marv's played by Creator/FrenchStewart, who looks absolutely nothing like Creator/DanielStern. Oh, and for those watching the ''Home Alone'' series for the traps - ''4'' failed there as well. There's three traps, and two of them are ''built into the house''. Yeah. A dumbwaiter and a revolving wall? Not ingenious. Thankfully, it bombed in the ratings, killing off any chance that audiences would be subjected to Kevin's antics on a weekly basis. Despite the failure of this movie, however, it didn't stop them from making two more installments, ''Film/HomeAloneTheHolidayHeist'' and ''Film/HomeSweetHomeAlone''. The former, while mediocre at best, was still noticeably better than this one. The latter, on the other hand, ended up going over even more poorly; more on that in [[Horrible/LiveActionFilmsGToM the live-action film section]]. WebVideo/TheHardcoreKid [[https://www.youtube.com/watch?v=RAHUiMmwwKg gave it a scathing review]]. ''WebVideo/BestOfTheWorst'' (with guest star Creator/MacaulayCulkin) [[https://www.youtube.com/watch?v=a_FURNuBeQg absolutely hated it]]. Rob Boor of ''Cinematic Venom'' reviewed the film twice (once in [[https://youtu.be/hRylAz3Ri4I 2009]], and again [[https://youtu.be/B5mG2KQSa6U eight years later]]). WebVideo/TheNostalgiaCritic reluctantly reviewed it [[https://www.youtube.com/watch?v=phvzYMFP6qM here.]]
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* '''''Film/HomeAlone4: Taking Back the House''''' '''''Film/HomeAlone4TakingBackTheHouse''''' was a made-for-TV sequel to the theatrical series, intended to be a PilotMovie for a TV series, with ''none'' of the predecessors' cast. The "kid sees bad guys that adults can't see" had been overused by then (including ''3'', though that one was decent), and [[ContinuitySnarl your head will explode if you try to connect this film with the first two]]. Kevin's [[NotAllowedToGrowUp a year younger than in the second movie]]; Buzz is five years younger; the [=McCallisters=] divorced and the dad is dating a rich woman; and Marv's played by Creator/FrenchStewart, who looks absolutely nothing like Creator/DanielStern. Oh, and for those watching the ''Home Alone'' series for the traps - ''4'' failed there as well. There's three traps, and two of them are ''built into the house''. Yeah. A dumbwaiter and a revolving wall? Not ingenious. Thankfully, it bombed in the ratings, killing off any chance that audiences would be subjected to Kevin's antics on a weekly basis. Despite the failure of this movie, however, it didn't stop them from making two more installments, ''Film/HomeAloneTheHolidayHeist'' and ''Film/HomeSweetHomeAlone''. The former, while mediocre at best, was still noticeably better than this one. The latter, on the other hand, ended up going over even more poorly; more on that in [[Horrible/LiveActionFilmsGToM the live-action film section]]. WebVideo/TheHardcoreKid [[https://www.youtube.com/watch?v=RAHUiMmwwKg gave it a scathing review]]. ''WebVideo/BestOfTheWorst'' (with guest star Creator/MacaulayCulkin) [[https://www.youtube.com/watch?v=a_FURNuBeQg absolutely hated it]]. Rob Boor of ''Cinematic Venom'' reviewed the film twice (once in [[https://youtu.be/hRylAz3Ri4I 2009]], and again [[https://youtu.be/B5mG2KQSa6U eight years later]]). WebVideo/TheNostalgiaCritic reluctantly reviewed it [[https://www.youtube.com/watch?v=phvzYMFP6qM here.]]
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* '''''Dalla Vostra Parte''''' ("On Your Side") was a political talk show that, like the title suggests, promised to side on the part of the citizens, with live reports and interviews. However, after a few episodes the show's host, [[https://en.wikipedia.org/wiki/Maurizio_Belpietro Maurizio Delpietro]], decided that pandering to alt-right ideologies and silencing whatever competent guests they interview was a better idea than mediating between the two opposing parts, sort of like [[Series/HotSeatWithWallyGeorge Wally George]] or [[Series/TheMortonDowneyJrShow Morton Downey, Jr.]] without any of the {{Kayfabe}}. In fact, ''every single episode'' was a string of loud-voiced and slanderous insults geared towards left-wing politicians, Communists, immigrants, homosexuals, Muslims, racial minorities, and everyone who dared to disagree with the hosts. The ones that weren't silenced were those who blame everything from violence to rapes, theft, or [[ArsonMurderAndJaywalking just existing]] on the above categories, or think that social progress is "destroying" Italy. The editors of the show didn't even bother checking their news sources, instead cherry-picking statistics that confirmed their racist beliefs and spreading fake news taken from unreliable websites. Over time, the program was increasingly lambasted for its brazenly racist, possibly even fascist contents, and for encouraging violence against their designated strawmen. With the network renovation in 2018, the show was canceled with no one mourning it. Sadly, it was replaced by an almost identical show called ''Fuori Dal Coro'' ("A Different Voice", literally "Out of the Choir"), where the only change is the host, [[https://en.wikipedia.org/wiki/Mario_Giordano Mario Giordano]], who has the amazing ability to be irritating in ''everything'', including his whiny, high-pitched, almost feminine voice.
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* '''''Dalla Vostra Parte''''' ("On Your Side") was a political talk show that, like the title suggests, promised to side on the part of the citizens, with live reports and interviews. However, after a few episodes the show's host, [[https://en.wikipedia.org/wiki/Maurizio_Belpietro Maurizio Delpietro]], decided that pandering to alt-right ideologies and silencing whatever competent guests they interview was a better idea than mediating between the two opposing parts, parties, sort of like [[Series/HotSeatWithWallyGeorge Wally George]] or [[Series/TheMortonDowneyJrShow Morton Downey, Jr.]] without any of the {{Kayfabe}}. In fact, ''every single episode'' was a string of loud-voiced and slanderous insults geared towards left-wing politicians, Communists, immigrants, homosexuals, Muslims, racial minorities, and everyone who dared to disagree with the hosts. The ones that weren't silenced were those who blame everything from violence to rapes, theft, or [[ArsonMurderAndJaywalking just existing]] on the above categories, or think that social progress is "destroying" Italy. The editors of the show didn't even bother checking their news sources, instead cherry-picking statistics that confirmed their racist beliefs and spreading fake news taken from unreliable websites. Over time, the program was increasingly lambasted for its brazenly racist, possibly even fascist contents, and for encouraging violence against their designated strawmen. With the network renovation in 2018, the show was canceled with no one mourning it. Sadly, it was replaced by an almost identical show called ''Fuori Dal Coro'' ("A Different Voice", literally "Out of the Choir"), where the only change is the host, [[https://en.wikipedia.org/wiki/Mario_Giordano Mario Giordano]], who has the amazing ability to be irritating in ''everything'', including his whiny, high-pitched, almost feminine voice.
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* '''''[=McGurk=]: A Dog's Life''''', a 1979 ABC half-hour "comedy" that only had the pilot aired before being cancelled. It starred Barney Martin (a.k.a. [[Series/{{Seinfeld}} Morty Seinfeld]]) as a fat old dog named [=McGurk=]. All the cast wore the finest kindergarten-play-quality dog suits while a laugh track brayed over painful quips about those classic '70s topics like health food, Glen Campbell, joggers, and steel-belted radials. In an attempt to widen the demographics, the dogs next door were made "sexy" in a deeply disturbing and anatomically-improbable way. Representative dialog: "Your lips told me no-no, but there was yes-yes in your tail." The human characters were not seen and spoke in ''Peanuts''-style gibberish. The climax featured dancing dogs and a twist that would make Creator/MNightShyamalan cry.
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* '''''[=McGurk=]: A Dog's Life''''', a 1979 ABC half-hour "comedy" that only had the pilot aired before being cancelled. It starred Barney Martin (a.k.a. [[Series/{{Seinfeld}} Morty Seinfeld]]) as a fat old dog named [=McGurk=]. All the cast wore the finest kindergarten-play-quality dog suits while a laugh track brayed over painful quips about those classic '70s topics like health food, Glen Campbell, joggers, and steel-belted radials. In an attempt to widen maximize the demographics, viewing demographic, the dogs next door were made "sexy" in a deeply disturbing and anatomically-improbable way. Representative dialog: "Your lips told me no-no, but there was yes-yes in your tail." The human characters were not seen and spoke in ''Peanuts''-style gibberish. The climax featured dancing dogs and a twist that would make Creator/MNightShyamalan cry.
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Rename
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* Fans of the classic British comedy series '''''Series/TheInbetweeners''''' absolutely refuse to acknowledge its truly ''godawful'' 2012 US remake, and with good reason. Even if one ignores the fact it's a remake and views it as its own show, it is still a horrendously unfunny show in its own right. The four main characters have been completely butchered (Jay, for example, is now an overweight Creator/JonahHill wannabe) and lack what made them so charming in the original show, coupled with [[WTHCastingAgency poor casting choices]] and bad acting, but the show's biggest sin is the humor, which not only feels more watered down, low-brow and PG compared to that of the show it's remaking, but most of the jokes have been recycled from the original show, only more Americanized and dumbed-down, and even then, they still don't translate very well in an American show. Not even American audiences liked the remake, as it was cancelled after only 13 episodes. LUMBARDI made a [[https://www.youtube.com/watch?v=fW_ldUbMxGY good video about the remake and why it was so awful]].
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* Fans of the classic British comedy series '''''Series/TheInbetweeners''''' absolutely refuse to acknowledge its truly ''godawful'' 2012 US remake, and with good reason. Even if one ignores the fact it's a remake and views it as its own show, it is still a horrendously unfunny show in its own right. The four main characters have been completely butchered (Jay, for example, is now an overweight Creator/JonahHill wannabe) and lack what made them so charming in the original show, coupled with [[WTHCastingAgency [[QuestionableCasting poor casting choices]] and bad acting, but the show's biggest sin is the humor, which not only feels more watered down, low-brow and PG compared to that of the show it's remaking, but most of the jokes have been recycled from the original show, only more Americanized and dumbed-down, and even then, they still don't translate very well in an American show. Not even American audiences liked the remake, as it was cancelled after only 13 episodes. LUMBARDI made a [[https://www.youtube.com/watch?v=fW_ldUbMxGY good video about the remake and why it was so awful]].
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cut gushing of brett cooper
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* '''''Series/{{Heathers}}''''' is a modernized adaptation of the CultClassic [[Film/{{Heathers}} film of the same name]] (as well as the equally Cult [[Theatre/{{Heathers}} musical]]). The series has the same premise, but includes a SettingUpdate that turns the titular GirlPosse into a group of marginalized people. A set-up with potential, but instead of making the Heathers popular for similar reasons as the original ([[RichBitch wealth]], [[AlphaBitch status]], [[BeautyIsBad attractiveness]]), the [[FanNickname "Peathers"]] (Paramount Heathers) are popular because [[FlawlessToken they are marginalized]], which sends all sorts of UnfortunateImplications[[invoked]]. Not only does the series appeal to ''[[AudienceAlienatingPremise nobody]]'', since every side of the political spectrum believes it was created to appeal to the other, it also has [[DullSurprise mostly bad acting]][[note]]with the Heathers being considered more enduring while Veronica and JD sound like they're reading their lines from a teleprompter[[/note]], a really poor understanding of the original movie and modern culture in general[[note]]Like Heather Duke being changed into a trans woman, only to reveal that they only pretended to be trans "in order to fit in"[[/note]] and barely any likable characters, along with being consistently postponed [[DistancedFromCurrentEvents due to the scenes of gun violence during a period of frequent mass shootings in the United States]]. WebVideo/SarahZ points out every flaw of the show [[https://www.youtube.com/watch?v=ZgE87HYvkN8 here]]. For a bit of trivia, Brett Cooper, who played recurring character Brianna "Trailer" Parker, would go on to become a right-wing commentator for outlets such as [=PragerU=] and the Daily Wire -- one can only hope she would prefer her new job over being associated with such a show.
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* '''''Series/{{Heathers}}''''' is a modernized adaptation of the CultClassic [[Film/{{Heathers}} film of the same name]] (as well as the equally Cult [[Theatre/{{Heathers}} musical]]). The series has the same premise, but includes a SettingUpdate that turns the titular GirlPosse into a group of marginalized people. A set-up with potential, but instead of making the Heathers popular for similar reasons as the original ([[RichBitch wealth]], [[AlphaBitch status]], [[BeautyIsBad attractiveness]]), the [[FanNickname "Peathers"]] (Paramount Heathers) are popular because [[FlawlessToken they are marginalized]], which sends all sorts of UnfortunateImplications[[invoked]]. Not only does the series appeal to ''[[AudienceAlienatingPremise nobody]]'', since every side of the political spectrum believes it was created to appeal to the other, it also has [[DullSurprise mostly bad acting]][[note]]with the Heathers being considered more enduring while Veronica and JD sound like they're reading their lines from a teleprompter[[/note]], a really poor understanding of the original movie and modern culture in general[[note]]Like Heather Duke being changed into a trans woman, only to reveal that they only pretended to be trans "in order to fit in"[[/note]] and barely any likable characters, along with being consistently postponed [[DistancedFromCurrentEvents due to the scenes of gun violence during a period of frequent mass shootings in the United States]]. WebVideo/SarahZ points out every flaw of the show [[https://www.youtube.com/watch?v=ZgE87HYvkN8 here]]. For a bit of trivia, Brett Cooper, who played recurring character Brianna "Trailer" Parker, would go on to become a right-wing commentator for outlets such as [=PragerU=] and the Daily Wire -- one can only hope she would prefer her new job over being associated with such a show.
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* '''''Series/TheChevyChaseShow''''', which lasted for [[Recap/TheSimpsonsS7E10TheSimpsons138thEpisodeSpectacular five fabulous weeks]] in 1993, is one of the most notorious failures in late night talk show history. Fox not only signed Creator/ChevyChase to a three million dollar contract, but they went so far as to buy Hollywood's '' Aquarius Theater,'' which had previously hosted ''Star Search,'' and renamed it the ''Chevy Chase Theater.''[[note]]It went on to be called ''Nickelodeon on Sunset'' before closing in 2017.[[/note]] Chase got a lavish set that included a giant fish tank with live fish inside (which was reportedly very difficult to maintain). Unfortunately, the show was completely dead on arrival. It was clear from his DeerInTheHeadlights look during the first monologue that Chevy was way out of his depth doing a) stand-up comedy and b) hosting a show like this altogether, though he still had the nerve to spend a good chunk of it putting down Creator/DavidLetterman -- this after the show was advertised with print ads of Chevy with Letterman's signature gap-tooth, with the tagline "Ready to Fill the Late Night Gap." The show's material was criticized for being derivative of Chevy's old shtick, with even the ''Weekend Update''-style bits carried over from ''Series/SaturdayNightLive'' only providing a brief respite, and bizarre sketches inspired by Chevy's comedy hero Creator/ErnieKovacs failing to generate many laughs. The interviews were excruciatingly awkward, and a visible struggle for notoriously antisocial Chevy, unless they were someone he was already friends with, like Creator/DanAykroyd. Supposedly, after the first episode aired, Creator/JohnnyCarson personally called Chevy and said "not as easy as it looks, is it?"[[note]]In 1975 Chevy dismissed speculation that he could be the new Carson by saying ""I'd never be tied down for five years interviewing TV personalities."[[/note]] The show killed Fox's attempts to get in on the late night talk show game, and alongside ''Film/VegasVacation'' also killed Chevy's career until ''Series/{{Community}}''. As a final insult, the theater went back to being the ''Aquarius Theater'' within days of the final episode. Hats Off Entertainment [[https://youtu.be/vhcN8lYkIy8 did a video on the subject.]]
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* '''''Series/TheChevyChaseShow''''', which lasted for [[Recap/TheSimpsonsS7E10TheSimpsons138thEpisodeSpectacular five fabulous weeks]] in 1993, is one of the most notorious failures in late night talk show history. Fox not only signed Creator/ChevyChase to a three million dollar contract, but they went so far as to buy Hollywood's '' Aquarius Theater,'' which had previously hosted ''Star Search,'' and renamed it the ''Chevy Chase Theater.''[[note]]It went on to be called ''Nickelodeon on Sunset'' before closing in 2017.[[/note]] Chase got a lavish set that included a giant fish tank with live fish inside (which was reportedly very difficult to maintain). Unfortunately, the show was completely dead on arrival. It was clear from his DeerInTheHeadlights look during the first monologue that Chevy was way out of his depth doing a) stand-up comedy and b) hosting a show like this altogether, though he still had the nerve to spend a good chunk of it putting down Creator/DavidLetterman -- this after the show was advertised with print ads of Chevy with Letterman's signature gap-tooth, with the tagline "Ready to Fill the Late Night Gap." The show's material was criticized for being derivative of Chevy's old shtick, with even the ''Weekend Update''-style bits carried over from ''Series/SaturdayNightLive'' only providing a brief respite, and bizarre sketches inspired by Chevy's comedy hero Creator/ErnieKovacs failing to generate many laughs. The interviews were excruciatingly awkward, and a visible struggle for notoriously antisocial Chevy, unless they were someone he was already friends with, like Creator/DanAykroyd. Supposedly, after the first episode aired, Creator/JohnnyCarson personally called Chevy and said "not as easy as it looks, is it?"[[note]]In 1975 Chevy dismissed speculation that he could be the new Carson by saying ""I'd "I'd never be tied down for five years interviewing TV personalities."[[/note]] The show killed Fox's attempts to get in on the late night talk show game, and alongside ''Film/VegasVacation'' also killed Chevy's career until ''Series/{{Community}}''. As a final insult, the theater went back to being the ''Aquarius Theater'' within days of the final episode. Hats Off Entertainment [[https://youtu.be/vhcN8lYkIy8 did a video on the subject.]]
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Changed line(s) 102 (click to see context) from:
* '''''Series/TheChevyChaseShow''''', which lasted for [[Recap/TheSimpsonsS7E10TheSimpsons138thEpisodeSpectacular five fabulous weeks]] in 1993, is one of the most notorious failures in late night talk show history. Fox not only signed Creator/ChevyChase to a three million dollar contract, but they went so far as to buy Hollywood's '' Aquarius Theater,'' which had previously hosted ''Star Search,'' and renamed it the ''Chevy Chase Theater.''[[note]]It went on to be called ''Nickelodeon on Sunset'' before closing in 2017.[[/note]] Chase got a lavish set that included a giant fish tank with live fish inside (which was reportedly very difficult to maintain). Unfortunately, the show was completely dead on arrival. It was clear from his DeerInTheHeadlights look during the first monologue that Chevy was way out of his depth doing a) stand-up comedy and b) hosting a show like this altogether, though he still had the nerve to spend a good chunk of it putting down Creator/DavidLetterman -- this after the show was advertised with print ads of Chevy with Letterman's signature gap-tooth, with the tagline "Ready to Fill the Late Night Gap." The show's material was criticized for being derivative of Chevy's old shtick, with even the ''Weekend Update''-style bits carried over from ''Series/SaturdayNightLive'' only providing a brief respite, and bizarre sketches inspired by Chevy's comedy hero Creator/ErnieKovacs failing to generate many laughs. The interviews were excruciatingly awkward, and a visible struggle for notoriously antisocial Chevy, unless they were someone he was already friends with, like Creator/DanAykroyd. Supposedly, after the first episode aired, Creator/JohnnyCarson personally called Chevy and said "not as easy as it looks, is it?"[[note]]In 1975 Chevy dismissed speculation that he could be the new Carson by saying ""I'd never be tied down for five years interviewing TV personalities."[[note]] The show killed Fox's attempts to get in on the late night talk show game, and alongside ''Film/VegasVacation'' also killed Chevy's career until ''Series/{{Community}}''. As a final insult, the theater went back to being the ''Aquarius Theater'' within days of the final episode. Hats Off Entertainment [[https://youtu.be/vhcN8lYkIy8 did a video on the subject.]]
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* '''''Series/TheChevyChaseShow''''', which lasted for [[Recap/TheSimpsonsS7E10TheSimpsons138thEpisodeSpectacular five fabulous weeks]] in 1993, is one of the most notorious failures in late night talk show history. Fox not only signed Creator/ChevyChase to a three million dollar contract, but they went so far as to buy Hollywood's '' Aquarius Theater,'' which had previously hosted ''Star Search,'' and renamed it the ''Chevy Chase Theater.''[[note]]It went on to be called ''Nickelodeon on Sunset'' before closing in 2017.[[/note]] Chase got a lavish set that included a giant fish tank with live fish inside (which was reportedly very difficult to maintain). Unfortunately, the show was completely dead on arrival. It was clear from his DeerInTheHeadlights look during the first monologue that Chevy was way out of his depth doing a) stand-up comedy and b) hosting a show like this altogether, though he still had the nerve to spend a good chunk of it putting down Creator/DavidLetterman -- this after the show was advertised with print ads of Chevy with Letterman's signature gap-tooth, with the tagline "Ready to Fill the Late Night Gap." The show's material was criticized for being derivative of Chevy's old shtick, with even the ''Weekend Update''-style bits carried over from ''Series/SaturdayNightLive'' only providing a brief respite, and bizarre sketches inspired by Chevy's comedy hero Creator/ErnieKovacs failing to generate many laughs. The interviews were excruciatingly awkward, and a visible struggle for notoriously antisocial Chevy, unless they were someone he was already friends with, like Creator/DanAykroyd. Supposedly, after the first episode aired, Creator/JohnnyCarson personally called Chevy and said "not as easy as it looks, is it?"[[note]]In 1975 Chevy dismissed speculation that he could be the new Carson by saying ""I'd never be tied down for five years interviewing TV personalities."[[note]] "[[/note]] The show killed Fox's attempts to get in on the late night talk show game, and alongside ''Film/VegasVacation'' also killed Chevy's career until ''Series/{{Community}}''. As a final insult, the theater went back to being the ''Aquarius Theater'' within days of the final episode. Hats Off Entertainment [[https://youtu.be/vhcN8lYkIy8 did a video on the subject.]]
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* '''''Series/TheChevyChaseShow''''', which lasted for [[Recap/TheSimpsonsS7E10TheSimpsons138thEpisodeSpectacular five fabulous weeks]] in 1993, is one of the most notorious failures in late night talk show history. Fox not only signed Creator/ChevyChase to a three million dollar contract, but they went so far as to buy Hollywood's '' Aquarius Theater,'' which had previously hosted ''Star Search,'' and renamed it the ''Chevy Chase Theater.''[[note]]It went on to be called ''Nickelodeon on Sunset'' before closing in 2017.[[/note]] Chase got a lavish set that included a giant fish tank with live fish inside (which was reportedly very difficult to maintain). Unfortunately, the show was completely dead on arrival. It was clear from his DeerInTheHeadlights look during the first monologue that Chevy was way out of his depth doing a) stand-up comedy and b) hosting a show like this altogether, though he still had the nerve to spend a good chunk of it putting down Creator/DavidLetterman -- this after the show was advertised with print ads of Chevy with Letterman's signature gap-tooth, with the tagline "Ready to Fill the Late Night Gap." The show's material was criticized for being derivative of Chevy's old shtick, with even the ''Weekend Update''-style bits carried over from ''Series/SaturdayNightLive'' only providing a brief respite, and bizarre sketches inspired by Chevy's comedy hero Creator/ErnieKovacs failing to generate many laughs. The interviews were excruciatingly awkward, and a visible struggle for notoriously antisocial Chevy, unless they were someone he was already friends with, like Creator/DanAykroyd. Supposedly, after the first episode aired, Creator/JohnnyCarson personally called Chevy and said "not as easy as it looks, is it?" The show killed Fox's attempts to get in on the late night talk show game, and alongside ''Film/VegasVacation'' also killed Chevy's career until ''Series/{{Community}}''. As a final insult, the theater went back to being the ''Aquarius Theater'' within days of the final episode. Hats Off Entertainment [[https://youtu.be/vhcN8lYkIy8 did a video on the subject.]]
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* '''''Series/TheChevyChaseShow''''', which lasted for [[Recap/TheSimpsonsS7E10TheSimpsons138thEpisodeSpectacular five fabulous weeks]] in 1993, is one of the most notorious failures in late night talk show history. Fox not only signed Creator/ChevyChase to a three million dollar contract, but they went so far as to buy Hollywood's '' Aquarius Theater,'' which had previously hosted ''Star Search,'' and renamed it the ''Chevy Chase Theater.''[[note]]It went on to be called ''Nickelodeon on Sunset'' before closing in 2017.[[/note]] Chase got a lavish set that included a giant fish tank with live fish inside (which was reportedly very difficult to maintain). Unfortunately, the show was completely dead on arrival. It was clear from his DeerInTheHeadlights look during the first monologue that Chevy was way out of his depth doing a) stand-up comedy and b) hosting a show like this altogether, though he still had the nerve to spend a good chunk of it putting down Creator/DavidLetterman -- this after the show was advertised with print ads of Chevy with Letterman's signature gap-tooth, with the tagline "Ready to Fill the Late Night Gap." The show's material was criticized for being derivative of Chevy's old shtick, with even the ''Weekend Update''-style bits carried over from ''Series/SaturdayNightLive'' only providing a brief respite, and bizarre sketches inspired by Chevy's comedy hero Creator/ErnieKovacs failing to generate many laughs. The interviews were excruciatingly awkward, and a visible struggle for notoriously antisocial Chevy, unless they were someone he was already friends with, like Creator/DanAykroyd. Supposedly, after the first episode aired, Creator/JohnnyCarson personally called Chevy and said "not as easy as it looks, is it?" it?"[[note]]In 1975 Chevy dismissed speculation that he could be the new Carson by saying ""I'd never be tied down for five years interviewing TV personalities."[[note]] The show killed Fox's attempts to get in on the late night talk show game, and alongside ''Film/VegasVacation'' also killed Chevy's career until ''Series/{{Community}}''. As a final insult, the theater went back to being the ''Aquarius Theater'' within days of the final episode. Hats Off Entertainment [[https://youtu.be/vhcN8lYkIy8 did a video on the subject.]]
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* '''''Series/OutOfJimmysHead''''' has gone down in history as one of Cartoon Network's most hated original programs, and is considered the start of the network's NetworkDecay. The series, based on a CN original movie entitled ''Re-Animated'', revolves around a teen named Jimmy Roberts, who is an ExtremeDoormat constantly exploited by [[WithFriendsLikeThese his friends]] and others at school. One day, after he somehow [[SpecilEffectFailure gets sent flying by a slow-moving train]] in a public location in a Walt Disney World {{Expy}}, he has to have a BrainTransplant and it just so happens he receives the brain of the park's founder [[MrAltDisney Milt Appleday]] -- which inexplicably gives him the power to see the cartoons Appleday created, who help him through his everyday junior high life. It wasn't completely without potential... but sadly, they didn't even see the good that could come out of it. The acting is wooden, most of the characters are unlikable, the animated characters [[SpecialEffectFailure are cheaply superimposed over the scenes]], and the LaughTrack is especially overused and out-of-place since the series is mostly an attempt to emulate {{Kid Com}}s like ''Series/NedsDeclassifiedSchoolSurvivalGuide''. The series was canned after only 20 episodes as the network used the 2007 Writers' Strike to end it without much fan anguish, and gained a hatedom the size of the Empire State Building, "earning" a 2.1 [=IMDb=] rating. Cartoon Network seem ashamed of it as well, as they never put it out on DVD outside of ''Re-Animated'' and never aired it again, with half of the series being lost media until user CRB uploaded recordings with English audio from when they were airing in Germany. [[https://workupload.com/archive/zMkvU4JWfP It can be found here.]] Sadly, they didn't learn from their mistakes and this show is probably what paved the way for other later live-action "CN Real" shows like the aforementioned ''Dude, What Would Happen?''. It doesn't help that it was directed by the same person who made ''Film/SonOfTheMask''. Watch what WebVideo/TheMysteriousMrEnter had to say about ''[[https://youtu.be/LqFsJJGfWh8 Re-]][[https://www.youtube.com/watch?v=n4ykW8P3qxo Animated]]'' for what was his 150th ''Animated Atrocities'' video and then [[https://www.youtube.com/watch?v=d74HY2EQ-mw the show itself three years later.]] WebVideo/{{PIEGUYRULZ}} also discusses both ''Re-Animated'' and ''Out of Jimmy's Head'' with fellow [=YouTubers=] Cosmodore and [=MonstersReview=] [[https://www.youtube.com/watch?v=ataO2OpWSFg here]]. And [[http://rowdyc.com/tv-trash-reanimatedout-of-jimmys-head/ here]]'s [[WebVideo/TVTrash The Rowdy Reviewer]]'s take, who was also convinced that it was a ploy by CN to sabotage their animation business as well as animation in general.
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* '''''Series/OutOfJimmysHead''''' has gone down in history as one of Cartoon Network's most hated original programs, and is considered the start of the network's NetworkDecay. The series, based on a CN original movie entitled ''Re-Animated'', revolves around a teen named Jimmy Roberts, who is an ExtremeDoormat constantly exploited by [[WithFriendsLikeThese his friends]] and others at school. One day, after he somehow [[SpecilEffectFailure [[SpecialEffectsFailure gets sent flying by a slow-moving train]] in a public location in a Walt Disney World {{Expy}}, he has to have a BrainTransplant and it just so happens he receives the brain of the park's founder [[MrAltDisney Milt Appleday]] -- which inexplicably gives him the power to see the cartoons Appleday created, who help him through his everyday junior high life. It wasn't completely without potential... but sadly, they didn't even see the good that could come out of it. The acting is wooden, most of the characters are unlikable, the animated characters [[SpecialEffectFailure [[SpecialEffectsFailure are cheaply superimposed over the scenes]], and the LaughTrack is especially overused and out-of-place since the series is mostly an attempt to emulate {{Kid Com}}s like ''Series/NedsDeclassifiedSchoolSurvivalGuide''. The series was canned after only 20 episodes as the network used the 2007 Writers' Strike to end it without much fan anguish, and gained a hatedom the size of the Empire State Building, "earning" a 2.1 [=IMDb=] rating. Cartoon Network seem ashamed of it as well, as they never put it out on DVD outside of ''Re-Animated'' and never aired it again, with half of the series being lost media until user CRB uploaded recordings with English audio from when they were airing in Germany. [[https://workupload.com/archive/zMkvU4JWfP It can be found here.]] Sadly, they didn't learn from their mistakes and this show is probably what paved the way for other later live-action "CN Real" shows like the aforementioned ''Dude, What Would Happen?''. It doesn't help that it was directed by the same person who made ''Film/SonOfTheMask''. Watch what WebVideo/TheMysteriousMrEnter had to say about ''[[https://youtu.be/LqFsJJGfWh8 Re-]][[https://www.youtube.com/watch?v=n4ykW8P3qxo Animated]]'' for what was his 150th ''Animated Atrocities'' video and then [[https://www.youtube.com/watch?v=d74HY2EQ-mw the show itself three years later.]] WebVideo/{{PIEGUYRULZ}} also discusses both ''Re-Animated'' and ''Out of Jimmy's Head'' with fellow [=YouTubers=] Cosmodore and [=MonstersReview=] [[https://www.youtube.com/watch?v=ataO2OpWSFg here]]. And [[http://rowdyc.com/tv-trash-reanimatedout-of-jimmys-head/ here]]'s [[WebVideo/TVTrash The Rowdy Reviewer]]'s take, who was also convinced that it was a ploy by CN to sabotage their animation business as well as animation in general.
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Changed line(s) 75 (click to see context) from:
* '''''Series/OutOfJimmysHead''''' has gone down in history as one of Cartoon Network's most hated original programs, and is considered the start of the network's NetworkDecay. The series, based on a CN original movie entitled ''Re-Animated'', revolves around a teen named Jimmy Roberts, who is an ExtremeDoormat constantly exploited by [[WithFriendsLikeThese his friends]] and others at school. One day, after he somehow gets hit by a train in a public location in a Walt Disney World {{Expy}}, he has to have a BrainTransplant and it just so happens he receives the brain of the park's founder [[MrAltDisney Milt Appleday]] -- which inexplicably gives him the power to see the cartoons Appleday created, who help him through his everyday junior high life. It wasn't completely without potential... but sadly, they didn't even see the good that could come out of it. The acting is wooden, most of the characters are unlikable, the animated characters [[SpecialEffectFailure are cheaply superimposed over the scenes]], and the LaughTrack is especially overused and out-of-place since the series is mostly an attempt to emulate {{Kid Com}}s like ''Series/NedsDeclassifiedSchoolSurvivalGuide''. The series was canned after only 20 episodes as the network used the 2007 Writers' Strike to end it without much fan anguish, and gained a hatedom the size of the Empire State Building, "earning" a 2.1 [=IMDb=] rating. Cartoon Network seem ashamed of it as well, as they never put it out on DVD outside of ''Re-Animated'' and never aired it again, with half of the series being lost media until user CRB uploaded recordings with English audio from when they were airing in Germany. [[https://workupload.com/archive/zMkvU4JWfP It can be found here.]] Sadly, they didn't learn from their mistakes and this show is probably what paved the way for other later live-action "CN Real" shows like the aforementioned ''Dude, What Would Happen?''. It doesn't help that it was directed by the same person who made ''Film/SonOfTheMask''. Watch what WebVideo/TheMysteriousMrEnter had to say about ''[[https://youtu.be/LqFsJJGfWh8 Re-]][[https://www.youtube.com/watch?v=n4ykW8P3qxo Animated]]'' for what was his 150th ''Animated Atrocities'' video and then [[https://www.youtube.com/watch?v=d74HY2EQ-mw the show itself three years later.]] WebVideo/{{PIEGUYRULZ}} also discusses both ''Re-Animated'' and ''Out of Jimmy's Head'' with fellow [=YouTubers=] Cosmodore and [=MonstersReview=] [[https://www.youtube.com/watch?v=ataO2OpWSFg here]]. And [[http://rowdyc.com/tv-trash-reanimatedout-of-jimmys-head/ here]]'s [[WebVideo/TVTrash The Rowdy Reviewer]]'s take, who was also convinced that it was a ploy by CN to sabotage their animation business as well as animation in general.
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* '''''Series/OutOfJimmysHead''''' has gone down in history as one of Cartoon Network's most hated original programs, and is considered the start of the network's NetworkDecay. The series, based on a CN original movie entitled ''Re-Animated'', revolves around a teen named Jimmy Roberts, who is an ExtremeDoormat constantly exploited by [[WithFriendsLikeThese his friends]] and others at school. One day, after he somehow [[SpecilEffectFailure gets hit sent flying by a train slow-moving train]] in a public location in a Walt Disney World {{Expy}}, he has to have a BrainTransplant and it just so happens he receives the brain of the park's founder [[MrAltDisney Milt Appleday]] -- which inexplicably gives him the power to see the cartoons Appleday created, who help him through his everyday junior high life. It wasn't completely without potential... but sadly, they didn't even see the good that could come out of it. The acting is wooden, most of the characters are unlikable, the animated characters [[SpecialEffectFailure are cheaply superimposed over the scenes]], and the LaughTrack is especially overused and out-of-place since the series is mostly an attempt to emulate {{Kid Com}}s like ''Series/NedsDeclassifiedSchoolSurvivalGuide''. The series was canned after only 20 episodes as the network used the 2007 Writers' Strike to end it without much fan anguish, and gained a hatedom the size of the Empire State Building, "earning" a 2.1 [=IMDb=] rating. Cartoon Network seem ashamed of it as well, as they never put it out on DVD outside of ''Re-Animated'' and never aired it again, with half of the series being lost media until user CRB uploaded recordings with English audio from when they were airing in Germany. [[https://workupload.com/archive/zMkvU4JWfP It can be found here.]] Sadly, they didn't learn from their mistakes and this show is probably what paved the way for other later live-action "CN Real" shows like the aforementioned ''Dude, What Would Happen?''. It doesn't help that it was directed by the same person who made ''Film/SonOfTheMask''. Watch what WebVideo/TheMysteriousMrEnter had to say about ''[[https://youtu.be/LqFsJJGfWh8 Re-]][[https://www.youtube.com/watch?v=n4ykW8P3qxo Animated]]'' for what was his 150th ''Animated Atrocities'' video and then [[https://www.youtube.com/watch?v=d74HY2EQ-mw the show itself three years later.]] WebVideo/{{PIEGUYRULZ}} also discusses both ''Re-Animated'' and ''Out of Jimmy's Head'' with fellow [=YouTubers=] Cosmodore and [=MonstersReview=] [[https://www.youtube.com/watch?v=ataO2OpWSFg here]]. And [[http://rowdyc.com/tv-trash-reanimatedout-of-jimmys-head/ here]]'s [[WebVideo/TVTrash The Rowdy Reviewer]]'s take, who was also convinced that it was a ploy by CN to sabotage their animation business as well as animation in general.
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* '''''Film/NationalLampoonsChristmasVacation 2: [[{{Spinoff}} Cousin Eddie's Island Adventure]]'''''. This "sequel" is often considered by even hardcore fans of the ''Film/NationalLampoonsVacation'' series to be one of the worst sources of {{sequelitis}} ever. The idea is that Cousin Eddie is the main character, and his boss fires him but sends him and his family on a vacation of the South Pacific, where things predictably go wrong. It abuses every single "stranded on an island" cliche in the book and often resorts to recycled slapstick gags from the first movie which somehow manage to be completely boring this time around. Despite taking place sometime after ''Film/VegasVacation'', the children inexplicably haven't aged, and trying to connect this to the film canon will practically cause your head to explode.\\
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* '''''Film/NationalLampoonsChristmasVacation 2: [[{{Spinoff}} Cousin Eddie's Island Adventure]]'''''. This "sequel" is often considered by even hardcore fans of the ''Film/NationalLampoonsVacation'' series to be one of the worst sources of {{sequelitis}} ever. The idea is that Cousin Eddie is the main character, and his boss fires him but sends him and his family on a vacation of to the South Pacific, where things predictably go wrong. It abuses every single "stranded on an island" cliche in the book and often resorts to recycled slapstick gags from the first movie which somehow manage to be completely boring this time around. Despite taking place sometime after ''Film/VegasVacation'', the children inexplicably haven't aged, and trying to connect this to the film canon will practically cause your head to explode.\\
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* '''''De oro puro''''' ("Of Pure Gold"), a Venezuelan SoapOpera which, despite its [[ShootTheMoney high production values]], was unspeakably awful. The plot seemed to be a LoveTriangle between a girl with PsychicPowers and EasyAmnesia, a man with a MysteriousPast, and [[FlyingDutchman the Wandering Jew]], who's female and apparently mother of the heroine (Jesus damned her from the cross and all). There was also a MadScientist with a lab with [[PeopleJars jar people]] growing up, and numerous supernatural elements. At least, [[RandomEventsPlot that's about as much sense as could be made]]. RCTV placed it in the timeslot previously occupied by the long-lasting, successful, social-themed soap ''Por Estas Calles'', causing a cultural shock that obviously didn't help it at all. When the ratings sank, they tried to attract people by airing segments in which the whole cast and a respected character actress ''who wasn't even in the production'' recapped and explained the convoluted plot and backstory; this backfired when people realized that, [[ShowDontTell if the creators had to explain the story, the viewers won't get much from watching it]]. When it was obvious that the show couldn't be saved, they edited the final chapters to compress them so they could finish the emission sooner, hacking off the resolution of its plot points and alienating the few souls who ''did'' invest their time watching it. The parody by ''Radio Rochela'' [[note]](RCTV's main SketchComedy show, a rough Venezuelan equivalent of ''Series/SaturdayNightLive'')[[/note]] was arguably better. This show's failure [[CreatorKiller ruined the reputation]] of its writer, the late Julio César Mármol (a usually-competent play and scriptwriter, who had written huge successes like ''Estefanía'', ''La Dueña'', and ''El Desprecio''), contributed to the ratings downfall of RCTV during a good chunk of TheNineties, and killed the then-budding practice of fully filming a soap before broadcasting (usually, Latin soaps first film a 20-episode buffer and then film day-to-day so they can adjust the plot according to ratings and character reception). This soap had been completed before the premiere, meaning that nobody could step in and set the show right once it was clear how bad it was. All of the above measures were meant to try to recoup any losses, and because RCTV produced it they were obligated to broadcast the full run. [[https://web.archive.org/web/20190612213715/http://www.rctvintl.com/eng/results.php?c=telenovelas An archived version of the RCTV International website]] shows that the description of this soap was deliberately more obtuse and poetic than the rest of their shows.
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* '''''De oro puro''''' ("Of Pure Gold"), a Venezuelan SoapOpera which, despite its [[ShootTheMoney high production values]], was unspeakably awful. The plot seemed to be a LoveTriangle between a girl with PsychicPowers and EasyAmnesia, a man with a MysteriousPast, and [[FlyingDutchman the Wandering Jew]], who's female and apparently mother of the heroine (Jesus damned her from the cross and all). There was also a MadScientist with a lab with [[PeopleJars jar people]] growing up, and numerous supernatural elements. At least, [[RandomEventsPlot that's about as much sense as could be made]]. RCTV placed it in the timeslot previously occupied by the long-lasting, successful, social-themed soap ''Por Estas Calles'', causing a cultural shock that obviously didn't help it at all. When the ratings sank, they tried to attract people by airing segments in which the whole cast and a respected character actress ''who wasn't even in the production'' recapped and explained the convoluted plot and backstory; this backfired when people realized that, [[ShowDontTell if the creators had to explain the story, the viewers won't get much from watching it]]. When it was obvious that the show couldn't be saved, they edited the final chapters to compress them so they could finish wrap the emission show up sooner, hacking off the resolution of its plot points and alienating the few souls who ''did'' invest their time watching it. The parody by ''Radio Rochela'' [[note]](RCTV's main SketchComedy show, a rough Venezuelan equivalent of ''Series/SaturdayNightLive'')[[/note]] was arguably better. This show's failure [[CreatorKiller ruined the reputation]] of its writer, the late Julio César Mármol (a usually-competent play and scriptwriter, who had written huge successes like ''Estefanía'', ''La Dueña'', and ''El Desprecio''), contributed to the ratings downfall of RCTV during a good chunk of TheNineties, and killed the then-budding practice of fully filming a soap before broadcasting (usually, Latin soaps first film a 20-episode buffer and then film day-to-day so they can adjust the plot according to ratings and character reception). This soap had been completed before the premiere, meaning that nobody could step in and set the show right once it was clear how bad it was. All of the above measures were meant to try to recoup any losses, and because RCTV produced it they were obligated to broadcast the full run. [[https://web.archive.org/web/20190612213715/http://www.rctvintl.com/eng/results.php?c=telenovelas An archived version of the RCTV International website]] shows that the description of this soap was deliberately more obtuse and poetic than the rest of their shows.
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* While it might have seemed like a good idea at the time to give the then-most subscribed [=YouTube=] personality[[note]]Albeit with waning popularity by 2012, in no small part thanks to [[FleetingDemographic its original audience outgrowing it over time]].[[/note]] his own sitcom, '''''Fred: The Show''''' ended up being a huge disaster. While WebVideo/{{Fred}} might have been palatable to a number of people in three-minute increments, his [[HeliumSpeech artificially high-pitched voice]], obnoxious [[GrossUpCloseUp close-ups]] and BrattyHalfPint attitude quickly become ''insufferable'' over the course of a thirteen-minute episode, or worse yet, ''three'' TV movies. The writing didn't help, putting Fred in cliché high school stories rife with stereotypical characters played by bad actors (who look [[DawsonCasting far too old]] to play middle schoolers)... and that's just the rare occasion the show even had a sensible plot besides Fred running around screaming. Even considering those who enjoyed the webseries, the television pacing ruins the RapidFireComedy that made Fred so popular online. The pilot movie received a resounding '''''0%''''' on Rotten Tomatoes. The movie also received a 1.9 on [=IMDb=], with its two sequels getting a 2.4 and a 2, respectively, and the show itself receiving a 1.6 and sits comfortably at #3 of the website's list of the worst-rated TV shows. Watch WebVideo/IHateEverything and WebVideo/{{ralphthemoviemaker}} rip the TV movies apart [[https://www.youtube.com/watch?v=Sr7ySzPHN-4 here.]] [=WatchMojo=] ranked it as the #2 worst TV show ever [[https://www.youtube.com/watch?v=l_LtkY3u4qM here]], [[WebVideo/RebelTaxi Pan Pizza]] included it on his [[https://www.youtube.com/watch?v=g3FTrSd4dys Top 10 Worst Nickelodeon Moments and Controversies]], and WebVideo/PhantomStrider labelled it as both [[https://www.youtube.com/watch?v=J2_rct9cHUo the worst Nickelodeon show ever]] and [[https://www.youtube.com/watch?v=BJQpFfH-8Dc the worst sitcom ever.]] [[WebVideo/{{Lucas}} Lucas Cruikshank]] even [[https://www.youtube.com/watch?v=aQsos2u1CxI made a video]] reacting to the show [[CreatorBacklash with much regret]]. The show [[FranchiseKiller killed the [=YouTube=] channel as well,]] with much of the channel's popularity imploding after the show aired.
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* While it might have seemed like a good idea at the time to give the then-most subscribed [=YouTube=] personality[[note]]Albeit with waning popularity by 2012, in no small part thanks to [[FleetingDemographic its original audience outgrowing it over time]].[[/note]] his own sitcom, '''''Fred: The Show''''' ended up being a huge disaster. While WebVideo/{{Fred}} might have been palatable to a number of people in three-minute increments, his [[HeliumSpeech artificially high-pitched voice]], obnoxious [[GrossUpCloseUp close-ups]] and BrattyHalfPint attitude quickly become ''insufferable'' over the course of a thirteen-minute episode, or worse yet, ''three'' TV movies. The writing didn't help, putting Fred in cliché high school stories rife with stereotypical characters played by bad actors (who look [[DawsonCasting far too old]] to play middle schoolers)... and that's just the rare occasion occasions the show even had a sensible discernible plot besides beyond Fred running around screaming. Even considering those who enjoyed the webseries, the television pacing ruins the RapidFireComedy that made Fred so popular online. The pilot movie received a resounding '''''0%''''' on Rotten Tomatoes. The movie also received a 1.9 on [=IMDb=], with its two sequels getting a 2.4 and a 2, respectively, and the show itself receiving a 1.6 and sits comfortably at #3 of the website's list of the worst-rated TV shows. Watch WebVideo/IHateEverything and WebVideo/{{ralphthemoviemaker}} rip the TV movies apart [[https://www.youtube.com/watch?v=Sr7ySzPHN-4 here.]] [=WatchMojo=] ranked it as the #2 worst TV show ever [[https://www.youtube.com/watch?v=l_LtkY3u4qM here]], [[WebVideo/RebelTaxi Pan Pizza]] included it on his [[https://www.youtube.com/watch?v=g3FTrSd4dys Top 10 Worst Nickelodeon Moments and Controversies]], and WebVideo/PhantomStrider labelled it as both [[https://www.youtube.com/watch?v=J2_rct9cHUo the worst Nickelodeon show ever]] and [[https://www.youtube.com/watch?v=BJQpFfH-8Dc the worst sitcom ever.]] [[WebVideo/{{Lucas}} Lucas Cruikshank]] even [[https://www.youtube.com/watch?v=aQsos2u1CxI made a video]] reacting to the show [[CreatorBacklash with much regret]]. The show [[FranchiseKiller killed the [=YouTube=] channel as well,]] with much of the channel's popularity imploding after the show aired.
