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  • In-Universe in an episode of American Dad!, Roger and Hayley want to test their attention abilities so Klaus challenges them to watch the movie "bicycle" by Ken Burns. He describes it as "a movie so unwieldy and meandering Burns himself has disavowed it". Behind the tape, Burn's commentary reads "unwatchable".
  • Dan Harmon has said that "Vindicators 3: The Return of World Ender" was the worst episode of Rick and Morty the crew ever made.
  • According to John Canemaker's Felix the Cat history book Felix: The Twisted Tale of the Worlds Most Famous Cat, Otto Messmer said he regretted recommending Burt Gillett to direct the Van Beuren Studios Felix the Cat cartoons in his steed—while Burt had worked on the original Felix cartoons, Otto felt his time in Hollywood working for Disney (having directed hit films like The Three Little Pigs) had gone to his head by the time he directed the cartoons, and also because he felt Gillett poorly utilized the character, turning Felix into a meek shadow of his former self and overshadowing the cat with his own cast of characters. It didn't help that when Otto tried to get work on the Van Beuren Felix cartoons (having initially passed on the offer), Burt refused to hire him because he considered his style "out of step" with his newer, slicker cartoons.
    "Felix was just a little figure in the background, instead of being the center figure. He [Burt Gillett] tried to push his own characters in there. Gillett tried to push himself, rather than the cat."
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    • The second season of The Twisted Tales of Felix the Cat, which tried to retool the show into being more like the Joe Oriolo era Felix the Cat cartoons instead of the surreal black and white Felix cartoons, was considered a disaster by the staff who worked on it (not helping that it was a total flop in ratings and got the show canned just 8 episodes into the season). Even during production, most of the staff absolutely hated the retool (mainly because they despised the Oriolo era Felix and had heavily pushed to use the tone of the classic Felix cartoons in the first season) and episodes were made in retaliation for it, such as "Attack of the Robot Rat", which parodies the Joe Oriolo Felix formula, and "Phoney Felix", a Stealth Parody of the second seasons retool.
  • Chuck Jones grew to hate almost all of his pre-1948 cartoons (barring his more experimental works at the time, like The Dover Boys), so much that he said if he had the choice he would have burned the negatives to all of them.
    • An interview with him also made it very clear that he thought Space Jam was a terrible movie and totally misunderstood the personalities of the Looney Tunes characters (among other things, he hated the joke about Porky wetting himself and stated that if Bugs were at all in-character he wouldn't have asked for or needed the help of Michael Jordan and the other Looney Tunes to defeat the aliens - and furthermore, he would've taken down the aliens in just five minutes). He was pretty vocal to the then-current Warner Bros creative team about their handling of the franchise. He was apparently frank enough about it in one case that he was escorted from the premises.
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    • In the book Chuck Jones Conversations. Chuck also expressed a strong dislike of Who Framed Roger Rabbit, a film that he worked on, citing the main lead as an obnoxious, unlikable character (exasperated that the human leads were more sympathetic than the cartoon), and was critical of Robert Zemeckis for robbing Richard Williams of any real creative input on the film, and also for meddling with the piano duel that Jones and Williams had storyboarded.
    • Also both he and Bob Clampett grew to hate the cartoon The Daffy Doc, not because they thought it was a bad cartoon, but because it used an iron lung as a gag prop during a time when polio deaths were on the rise.
    • Many Warner Bros. animators grew to dislike much of their early work, especially the sappy Disney-like cartoons and Buddy cartoons they made from the mid-to-late 1930s.
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    • Additionally several WB staff such as Frank Tashlin expressed dislike for Porky Pig, due to having less flexibility and humor value compared to zanier characters such as Daffy Duck and Bugs Bunny. According to animator Mike Fontanelli, this resentment still stands with many modern executives at Warner Bros and is partly why the character is so sparsely used in revival features or merchandise (and not because the Moral Guardians think Porky's stuttering is offensive to those with speech impediments). When he shows up at all, he tends to be given the Butt-Monkey treatment by those around him. Even his own creator, Friz Freleng, made fun of how much more boring he was to utilise:
    Freleng: Nobody liked working with Porky Pig much because he was sort of a square.
    • Similarly some Warner staff such as Friz Freleng hated using Elmer Fudd, believing he was such an incompetent adversary for Bugs Bunny that it became difficult not to cast the latter more as a bully than a Karmic Trickster. Freleng created more abrasive foes such as Yosemite Sam so he could deal with the rivalry less (though he still used Elmer in other non-Bugs roles). Some sources also claim Freleng to have disliked Speedy Gonzales.
    Freleng: Elmer was just too dumb. He was naïve and childish and Bugs outwitted him. It didn't take much brains to outwit Elmer. Sometimes you felt sorry for Elmer. He'd break down and cry. But that's why I didn't quite feel that Elmer filled the bill. He wasn't really a villain. He was a pitiful character. He had a duty to perform as a hunter. He had to go shoot a rabbit. But there wasn't a mean streak. He didn't really like to shoot the rabbit. You wondered why you didn't hate Bugs for doing what he did to him. It took a little more sharpness to outsmart Yosemite Sam than a chicken-brained Elmer Fudd.
    • Also of note is the little-known Looney Tunes director Norm McCabe; according to historian and animator Mark Kausler, in his later years, Norm was extremely modest about his time directing Looney Tunes shorts, dismissing them all as terrible—when a screening was held as ASIFA for his shorts along with him, it was painful for him to watch his own cartoons. Sort of justified, as most of McCabe's works are World War II cartoons and contain a lot of offensive caricatures of the Japanese (Tokio Jokio is often used as the prime example of this).
    • Bob Bergen, the current voice of Porky Pig, admitted on the Toonzone Forums (now the Anime Superhero Forums) that he does NOT think highly of the Larry Doyle-produced shorts made in the 2000s and that he had an awful time working on them before being fired and replaced with Billy West as the voices of Porky and Tweety. For one thing, the shorts originally had a LOT of adult humor that didn't belong in a Looney Tune - he specifically mentioned a lot of jokes about sex and bodily functions. While Bob is aware that the original Looney Tunes shorts were never intended to be exclusively for kids, as he pointed out they were CLASSY, not crude. Thus, he let Larry know that he wasn't comfortable with the adult humor, but it didn't do any good (ironically, the higher-ups at Warner Bros. took out all the adult humor in the shorts after Larry was fired). As if that wasn't enough, Larry wanted Bob to change the way he played Porky - he slowed down a bunch of old Porky shorts to how Mel sounded before they sped him up, then told Bob to "do" Mel, then they would speed him up to the same percentage. Despite the fact that Bob does Porky fine naturally and has done it that way for years. In addition, as Bob pointed out his voice is much higher than Mel's was - and the microphones used in those days were much different than the ones they were using on these shorts... and on top of that, Larry slowed down those original Porky shorts too much. When Bob attempted to do Porky the way Larry wanted and was sped-up, the result sounded like a stuttering Alvin the Chipmunk. Bob finally decided to call up his agent and quit the project - a very difficult decision for him, as he's wanted to voice Porky since he was a kid, but if this was the direction that they were going to take the characters in he wanted no part in it. However, when he told his agent that he wanted off the project, his agent informed him that he'd actually just been fired. Fortunately, it didn't take long for him to get the role of Porky back, just not in the shorts.
  • Chuck Jones also had a mixed opinion of his contribution to the Tom and Jerry series, claiming he didn't quite fully understand the characters' dynamic and would have likely done many things different if given another chance. On the other hand, Chuck Jones' work on the Tom and Jerry cartoons can be seen as practice for when he created the TV adaptation of How the Grinch Stole Christmas!, which, unlike his take on the Tom and Jerry cartoons, is well-liked and well-remembered to this day.
  • Shamus Culhane disliked his sole Popeye cartoon "Popeye Meets William Tell"; in his autobiography, he likened the final product to "putting a bow on a wild boar"—apparently his attempt to bring the polished, disciplined approach of Disney animation into the more comical east coast style of animation Popeye used just didn't mix well, resulting in a very uneven, bizarre short, and this was quite frustrating to him. It may have also been because he never wanted to make a regular Popeye cartoon in the first place, instead wanting to make a short centered around Wimpy, which was vetoed by the Fleischers.
    • Shamus also wasn't proud of his work in the early Fleischer Studios Talkartoons shorts, which he considered primitive compared to his later work.
    • Culhane was also not proud of how his animation on Fleischer's Gulliver’s Travels was ruined by sloppy inkers and bad in-between work, and that he would have quit if it wasn't for his contract. He also expressed disappointment in how Mr. Bug Goes to Town turned out, believing the film didn't live up to its full potential.
    • Culhane also despised working on the Hearst Krazy Kat cartoons he did inking work on. In his biography "Talking Animals and Other People", he likened the screening of their first sound cartoon ("Ratskin", 1929) with the character as being akin to a tornado in a boiler factory. "It was sheer cacophony." The staff gave no reaction to the film, save Culhane himself, who spited it with a sarcastic laugh (which got him left behind when the studio moved elsewhere). In the book "Enchanted Drawings", Culhane's once again gave his humble thoughts on the shorts;
    "The films were atrocious, the worst crap you can imagine. They never used the characters. Offisa Pup rarely appeared, Ignatz Mouse was not in love with Krazy note ; they never used the desert landscapes. The staff just batted the stuff out as fast as they could for something like 750$ apiece."
  • Max Fleischer considered Mr. Bug Goes to Town to be a failure, and refused to acknowledge the film as one of his achievements in a 1950s interview—although it may have been because it was the film that contributed to destroying Fleischer Studios and getting him booted out; the fact that he and David Fleischer had a terrible falling out while they were making the film probably didn't help matters either.
    • He also hated the Made-For-TV Out of the Inkwell cartoons, and was horrified when he first watched them.
  • Scooby-Doo:
    • Strange as it sounds, some sources claim that Bill Hanna and Joe Barbera hated the franchise, and only kept the show running because of how insanely popular (and profitable) it was.
    • Tom Ruegger, the showrunner of The 13 Ghosts of Scooby-Doo, once said that he could not stand Flim-Flam, claiming that working with the character actually made him appreciate Scrappy-Doo.
    • Ken Spears and Joe Ruby absolutely hated Scooby-Doo! Mystery Incorporated, believing that the show was too dark and cynical, and thus failed to understand or capture the essence of the franchise.
      • Irene Jimenez, the Latin American long-time voice actress for Velma, is also on record for disliking the way the character was portrayed in this incarnation.
  • Hugh Harman of the Harman and Ising duo claimed late in his life that he grew to hate all but three of the shorts he made—"The Old Mill Pond", "Blue Danube", and "Peace on Earth". And even then, Hugh admitted that he wasn't completely satisfied with how Peace On Earth turned out, and felt that the film needed to be far longer than it was.
    "Peace on Earth was a tough one to animate and to write. We shouldn't actually have made that as a one-reeler, we should have made it in about three to five reels. We cut it and cut it and cut it; we didn't cut footage that was animated—nobody in his right mind does that, unless it's bad. But cutting the storyboard and switching around. It has some flaws. I just got tired of it near the end. That's always been a weakness with me, that I get so fed up on it at the end of a picture that I would just as soon turn it over to the Girl Scouts to make. Unless it were a feature that would warrant going on with costs forever. I've observed that as a weakness in myself, that I often end up with a weak, insubstantial ending for a picture."
  • Former Rugrats co-creator Paul Germain has mixed feelings for The Rugrats Movie. At the time of the movie's release, Germain had left Klasky-Csupo to work on Disney's Recess. While Germain doesn't exactly hate or disown the film, he still has a few problems with it: thinking that some moments, such as Stu giving the watch to Tommy, didn't work, as the babies and adults weren't supposed to communicate, and that he was upset that now Dil was introduced at the beginning, as Tommy is supposed to be the youngest (one of his proposed ideas for the movie back in the early `90s, when 20th Century Fox made a deal to distribute Nicktoon-based movies (a deal that did not go anywhere) was for Tommy to get a younger sibling at the very end).
  • Despite the acclaim and legacy of Batman: The Animated Series, there were several episodes that were either promising misfires, or outright duds, and were regarded as such by the shows team. They gave their thoughts on several of these episodes in an issue of Animato Magazine;
    "I think that if we hadn't gotten Alan Burnett to come over, we would have had a lot more shows like this one," noted director Frank Paur of the producer who stepped in to take control of the show's script process first season. Paur also disliked arming Batman with a screwdriver, but had his hands full wrestling with an as yet unsatisfying storyboard crew. "I had to get rid of most of these boards and start from scratch," he said. "It was very time-consuming. Our schedule was so tight, that small things got by." Noted producer Bruce Timm, "I can't even watch that show. It's the epitome of what we don't want to do with Batman. Strangely enough kids like it. The script came in and it was terrible. Normally, I tell the director to do what he can to make it interesting, and nobody could figure out a way to make it interesting. The storyboard artists didn't care, and it shows."
    • While the episode was based on a good story from the comics and having decent animation, "The Cape and Cowl Conspiracy" was considered a misfire, namely for its lackluster gimmick villain, and Batman having no real motive to play mind games with him.
    "I tried to kill this show, but they didn't let me," said director Frank Paur. "We had a lot of storyboard artists who wanted to rebel on this one. The best metaphor is kicking a dead horse. It arrived dead and no matter how hard you kick it, it ain't going to give you a ride."
    • "The Underdwellers" was likewise considered a dud, namely for censorship problems, bad story elements and very Off-Model animation.
    "It was my first episode as director, and there are still things in it that I cringe at," said director Frank Paur. Usually when we get an episode, we get to use a lot of discretion and change things. I wish I had been able to spend more time on that script. Another problem at the time, was that we had storyboard people who made things difficult. I found myself going back two or three times to fix scenes. They didn't quite understand we were shooting for a higher standard. So there was always a constant drain on my time. That whole opening sequence of the kids playing chicken with the train should have been cut. That was what we had to contend with at the beginning of the season. We had these little public service announcements worked into the scripts, a concept we nixed real quick." "It's Junio's weakest episode," said producer Bruce Timm. "We almost didn't use them after that. It was the first one that came back that really looked totally unlike our show. It was very Japanese. But I'm glad we did use them again, they've done great work. BS&P took a lot out of this show. Originally, the kids were to be victimized by the Sewer-King, but he was not allowed to be mean or tortorous to any of them. The impact is watered down. If we were doing it today, we probably would have decided not to do the show."
    • "Lock-Up" was also considered a failure, due to its awful script, blatant plot holes and bloopers (Batman changing into his costume out in the open, not letting us figure out how he escaped), and slow, aimless scenes.
    • "Prophecy of Doom" was already considered a very average episode, but its criticism was mainly singled out for its terrible animation by AKOM.
    "If that whole end sequence with the spinning worlds in the observatory had gone to Junio or any other studio, it might have come off, but it went to AKOM," said Bruce Timm. "They just weren't able to pull off that level of animation." "That broke my heart," said director Frank Paur. "I designed those planets using a circle template. How hard is it to animate circles? It was done by hand, and if we had done it now, it would have been done on computer and would have looked spectacular. When I knew the show was going to AKOM, a studio I'd had a long history with, I knew they weren't going to be able to pull it off. Admittedly, it was a tough sequence, but they should have been able to do it."
    • While not considered a "bad" episode, Bruce Timm was not satisfied with the episode "What Is Reality?", although he ironically complimented AKOM's work on it.
    "Virtual reality is too science fictiony for our show. While it may be conceivable that it will work in four or five years, Batman transforming himself into a black knight and flying around on a chessboard is unfathomable to me. Strangely enough, it's one of AKOM's better shows. They pulled off all the special effects really well."
    • "The Mechanic" was also considered dissatisfying, save for some nice action and some of AKOM'S better animation.
    "This was one of those stories in development hell for a long time," said producer Bruce Timm. "We needed scripts. I think it's a stinker, but it has some of AKOM's better animation in it." Noted director Kevin Altieri, "It was the first show that AKOM laid out itself. It's not as good as their 'The Last Laugh,' but had far fewer retakes (almost 80% of 'The Last Laugh' needed retakes.) I think they were threatened that they might lose the work, so they put their A-Team on it. It actually is a script that is similar to the '60s series, but when you do something like this comedy, you must remember that even thought the script may be goofy, you have to show that the characters are living it. When Earl drops the tires on Penguin's henchmen, he thinks Batman's dead and he's crying."
    • "Nothing to Fear", despite having some of the series best moments and nice animation work by Dong Yang (whose only glitch was straightening the Scarecrow's crooked posture), was considered to have bad pacing, a cliche way of beating Scarecrow, and an all around mediocre script.
    "It was written by Henry Gilroy, who had never written cartoons before," said producer Bruce Timm. "He was a film editor here and always wanted to get into writing. At the time we didn't have a story editor, so we gave it a go. When he turned in his first draft, which wasn't bad, we had hired our first story editor, Sean Derek. We immediately came to loggerheads over this show. Some of the dialogue she changed wasn't changed for the better."
    • "The Forgotten" was another misfire, mainly for being a message show put forth by the original story editors.
    "I didn't want to do this show from the very beginning," said producer Bruce Timm. "Sean Derek was big on doing shows with social messages. And my big problem with message shows, is that you can't solve the world's problems in a half hour cartoon. If you raise the issue of homelessness, what can you do? It makes the episode look very exploitive, because you're just using the problem as an exotic background. You can't discuss the problem on any meaningful level in a 22-minute action cartoon. So I put in the dream sequence with Bruce in the barracks where these multitudes of people are looking to Bruce for a handout, and he doesn't have enough money for them all, and they're surrounding him and suffocating him. It's not enough for him to put a band-aid on the problem at the end, by offering the two guys a job. It just doesn't work." BS&P undercut the script's essential message, as director Boyd Kirkland explained: "There was a sequence at the beginning where Batman is wandering around the city, trying to find out why people were disappearing. It was staged with homeless people hanging around on sidewalks: families, mothers and kids. They made us take all that out of the boards. They said it was too much for kids to see that maybe a woman or a family can be out on the streets. They specifically asked that we only show men as homeless."
    • "The Cat and the Claw: Part 2" was considered a dud, namely for its many plot holes, a lame villain and downright abysmal animation by AKOM.
    "The whole end sequence was geared around the explosions, and they were some of the worst you'll ever see," said producer Bruce Timm. "We retook all of them two or three times. They were still awful, but we ran out of time and had to air them."
    • Bruce Timm really came to regret the Joker's redesign in the New Batman Adventures revamp; it looked good in concept, but he felt it was followed on too literally, and it robbed the Joker of a lot of his fearsome personality.
    • Bruce Timm has stated that he considers "The Terrible Trio" to be not just the worst episode of Batman: The Animated Series, but the worst episode of the DC Animated Universe in general.
  • Ian Pearson and Gavin Blair of ReBoot fame were once famous for the computer animation in the Dire Straits Money For Nothing music video. They were proud of their work... at the time, but they despised that they had the suffix title of "Those guys who did Money for Nothing." They showed their feelings in an episode of ReBoot, where two look-alikes for the CGI movers from the video audition at Enzo's birthday party, only to get sandbags dropped on them from high offstage.
  • Donald F. Glut was one of the few members of The Transformers staff who openly expressed distaste for the series, lambasting its quality as actual art (including the episodes he wrote) and claiming that he only worked on it for the money.
  • Several staffers at Filmation have not had kind things to say the company or its shows. John Kricfalusi described how lousy it was working there;
    "Ironically, my first job at an "entertainment studio" came a decade and a half later at the dreaded Filmation. They hadn't changed their style or approach in all that time. They believed in boredom. They went on throughout their 30 or so year life span barely changing their monotonous bland ways. Working there, I finally saw why and how. You literally were not allowed to draw anything unless you were in the model department. In layout, animation and assistant animation you had to trace the model sheets. Or xerox them off the model sheets. Each character had maybe 3 pre-designed poses and if the show went on for 10 years, you'd have 130 half hours of the same 3 drawings of each character."
    • Disney Animator Will Finn likewise described his tenure at Filmation as a sour experience.
    My first week on HE-MAN, the cleanup crew were given model sheets of "Ram Man" where the designer had drawn his thumbs on the wrong side of his hands. In his "full front" pose and side pose, the thumbs were right, but in the rear pose, they were drawn incorrectly, it was an obvious mistake. When we pointed this out to the clean up supervisor, she went ashen and told us we had to follow it anyway, until the proper protocol had been addressed to look into the problem. Whenever he turned his back, we had to have "Ram Man's" thumbs inbetween around to the wrong side of his hand to be perfectly "on model." I swear to God I am not making this up. It took a couple of weeks, but we were eventually given new "corrected models" and the crew went into overtime to re-do all the incorrect clean up we had been doing in the interim. If Kafka had ever written pure farce, even he could not have topped FILMATION."
    I had the worst trouble drawing one of the damned bad guys. I can't remember which one it was, but the background guys had to be able to use the drawings, and the animation was so limited that stuff hardly moved. Every time I sent drawings of the damned bad guy through, they would return them to me and say "Not on character, please do over." But it was as close as I could get to on-character. Every morning that fucking thing would come back. So, I went in to see Joe, and I said, "Joe, you know how to draw this character, show me what I'm doing wrong." And he picked it up and looked at it, and he drew it. And I said "Is that correct? If I turn that in, I won't have any problems?" It was Joe who was sending the stuff back to me everyday. And he said, "No, that's perfect." So I took it back to my desk and put all the scene numbers on it. I sent the drawing back in and the son-of-a-bitch sent it back the next day. It said "Do over, not on character." He rejected his own drawing! So I said "Screw this, I gotta get out of here." There was clearly no way I was going to win.
  • J. Michael Straczynski expressed a similar opinion for his work on He-Man and the Masters of the Universe (1983).
  • John Kricfalusi also described working at DiC Entertainment as a bad experience (especially since they butchered and then abruptly cancelled his attempted Beany and Cecil revival there), and that the studio was even worse to work for than Filmation.
  • Trey Parker and Matt Stone don't seem particularly proud of the early seasons of South Park, which had the highest ratings of the show's run and a glut of memorable episodes for those who prefer the older, more Toilet Humor-based episodes to the later episodes which have abandoned toilet humor for social satire.
    • They weren't happy with the way "A Million Little Fibers" turned out, feeling the two subplots of the episode didn't work together because it was "weirdness on top of weirdness". They have stated if they could go back and redo any episode, it would be this one.
    • The episode "Marjorine" was painful for them to watch, because they felt the three subplots (Butters pretending to be a girl, the boys treating the girl's paper fortune teller as a real scientific device, and Butters's parents believing they had brought Butters back to life a la Pet Sematary) should have been their own episodes, and were wasted as is.
    • They also have a fair amount of disdain for Season 8, claiming they were going through a bout of writer's block due to the grueling schedule they were under while filming Team America: World Police. In particular, "Good Times With Weapons" was deemed a weak episode by them, despite being one of the show's most fondly remembered episodes.
    • They regret their portrayal of Gary Condit and the Ramseys in "Butters' Very Own Episode", due to portraying them as guilty until proven innocent.
    • Also, they were not happy about the "201" censorship.
  • The Simpsons
    • "The Principal and the Pauper", which retconned Principal Skinner's past, saying instead he had assumed the life of the "real" Skinner and then brushed these revelations under the rug in a blatant reset button. Both Matt Groening and Skinner voice actor Harry Shearer have publicly criticized the episode. The later "Behind the Laughter" episode referred to this one as "gimmicky" and "nonsensical."
    • "A Star Is Burns", a crossover with The Critic forced upon the show by the network. Groening removed his name from the episode in protest and doesn't appear on the DVD Commentary for the episode. This was because he felt that the episode was basically just an advertisement for The Critic, and didn't want to seem like he was associated with it. Despite this, the episode is still considered to be a classic.
    • Groening also expresses embarrassment for the Tracey Ulmann shorts for their crudeness. He and the staff were also so appalled by the original attempt at the pilot of the original series "Some Enchanted Evening" (due to its similar cruder, more abstract animation) that they had it reanimated (the original cut is shown on DVD with commentary from the staff, in which none of them have a single nice thing to say about it between them).
    • An in-universe example: In "Dude, Where's My Ranch?", Homer wrote Flanders a hate song. Said song eventually became an in-universe meme. Its popularity rose to the point where even Homer himself had enough (see quote at top of page).
  • Speaking of The Critic, Jay Sherman has an in-universe outburst about a film he wrote, Ghostchasers III, begging the Crips and Bloods to stop killing each other and go kill network executives.
  • Disney director Wilfred Jackson was so ashamed of his first directorial effort, a Mickey Mouse short called "The Castaway", that he vowed never to make a film that didn't feel like a Disney picture again.
    • Walt Disney (the man) hated the 1935 Silly Symphonies short "The Golden Touch". After he finished it, he never directed a short again. According to Jack Kinney's autobiography, he allegedly blasted an animator over a mistake and the animator, intending to take his boss down a peg, shot back that he was the one who directed The Golden Touch. An enraged Walt stormed out — but came back later and angrily warned him to never, ever mention the cartoon again.
    • Walt also had some dislike of Goofy, as mentioned in Neal Gabler's biography on Walt. According to Gabler, Walt "threaten[ed] constantly to terminate [the Goofy series of shorts] before relenting, largely to provide work for his animators." The dislike most likely stemmed from a bitter falling out that Walt had with Goofy's voice actor Pinto Colvig in the late 1930s. After Disney and Colvig reconciled in the early 1950s, there was evidence that Walt had warmed up to the character, even dedicating an episode to him on the Wonderful World of Color television show. It should be noted, however, that Gabler's book cites no source for the claim of Walt hating Goofy. Some of his alleged hatred of Goofy may have also stemmed from his dislike of the character's primary animator, Art Babbitt, who had instigated the infamous 1941 Disney animators' strike and thus made enemies with his boss for life.
    • There is also an unsubstantiated rumor that Walt hated Donald Duck; however, according to "Of Mice And Magic", many of the staff such as director Jack Hannah really did hate working on Donald Duck shorts.
  • Thurop Van Orman HATED a handful of episodes from the second season of The Marvelous Misadventures of Flapjack. So he added a Laugh Track to them, along with a "drawn in front of a live audience" gag.
  • The Bananaman cartoon series was hated by virtually every cast member that starred in it, as well as Steve Bright, who wrote the Bananaman comic strip. To a lesser extent, this also applies to the strip's original artist, John Geering, who liked the series overall but wasn't fond of how his characters had been redesigned.
  • Tex Avery expressed a dislike for his character Screwy Squirrel, even going so far as to kill him off for real at the end of Screwy's fifth and final short. In a BBC documentary, one former animator once told Avery he sent him letters with drawings of Screwy Squirrel on them in the hope that his hero would be more prone to open and read them. As it turned out, Avery simply threw each letter with Screwy's face on it in the trash can!
    • This was implied to be his desire to move on from his "screwball" work he did with Warner Bros. Justified given his bitter falling out with Schlesinger over The Heckling Hare.
  • An in-universe example from Rocko's Modern Life: Ralph Bighead has Wacky Deli created so that he will be released from his contract in order to become a real artist. It doesn't work.
  • John Kricfalusi of Ren & Stimpy fame has warned his fans not to study his cartoons from the original series. He summed it up saying "For one thing that we did right, there was a million mistakes". However, when using examples of a well-constructed story and good dialogue, he uses the cartoon "Stimpy's Invention" quite a lot. In general, John is actually pretty critical of the original show, to where he claimed once that he can't really enjoy watching his own cartoons, because all he can see are the mistakes he made on them. He also felt the original show in its initial seasons (sans the Carbunkle episodes) were very inconsistent from a drawing and animation perspective, and had many bad drawings in them (hence why he discourages his students from studying them). Some episodes he singled out for criticism include;
    • "Nurse Stimpy" was an episode that turned out so bad, that John flat out disowned it and refused to put his name on it (crediting himself as "Raymond Spum" instead)—mainly for the cuts Nickelodeon wanted (who axed a good chunk of footage out of the cartoon) and many artistic failings; "The timing was bad. The drawings are bad. The colors are bad. From an artistic standpoint, to me, it's a really ugly cartoon."
    • "The Littlest Giant", mainly for its very slow pacing and sparse gags. He derogatorily nicknamed it "The Littlest Jokes".
    • "Marooned"; he felt that the premise had merit, but was undermined by the episodes horrible timing (which was freelanced to another company) and some artistic mistakes that came from having to rush aspects of the episode.
      John K:"Marooned had great ideas, but the execution fell short; the timing was horrible. We freelanced the timing on that one and it was just way too slow...We just rushed through it, and so you see a lot of really bad mistakes. You see the aliens at the end, the giant brain guys. They're on overlays, but we were rushing through it so fast that you can see the tear lines around them—they're on cut-out pieces of paper glued to cels. It looks awful."
    • He also considered the episode "Black Hole" a failure for several reasons;
      John K:"Its a complete failure. In every aspect it's bad; it's drawn bad, there's no direction to it at all, the timing's bad. It's a winner by default; somehow the premise managed to get through, even though the specific story points don't illustrate the premise very well. It was lucky."
      • Later on, he singled out the cartoon for criticism again, but this time for its poor structure;
      John K:"I produced a cartoon that really suffered from poor structure: Black Hole. The premise of the story was simple. Ren and Stimpy get sucked through a black hole into another dimension where the physical laws are different than ours. Thus, they begin to mutate into weirder and weirder forms. Or...they should have. Instead they morph randomly and not in a building progression. The funniest morphs are early on, and then later they are less weird, so I considered that cartoon quite a failure. I've made other crap too, but my goal is always to have good solid structure and momentum."
    • "Monkey See, Monkey Don't". While the episode wasn't directed by him, he singled out this particular episode as "the worst Ren and Stimpy cartoon ever made." (of the first two seasons)
    • While he liked how "A Visit to Anthony" turned out, he was dissatisfied at how undirected the acting of Anthony's dad turned out, and he felt the sound effects and music (added by Games) were "clumsy and inappropriate".
      "I directed the recordings of all the characters EXCEPT my Dad, ironically and was very disappointed when I heard it. It sounded like the actor didn't know the story and was reading it for the first time, so he didn't give it the meaning that the drawings conveyed. It was a professional live-action actor and I think whoever directed him was afraid to actually give him any direction. And also didn't know my Dad." "I think the animation was done at Rough Draft and it was amazing. The fireplace scene was especially impressive with all the cool effects. The sound effects and music was clumsy and inappropriate as per usual in the Games episodes. That's something they just never got, even though I sent them a long treatise on how to make the sound match the moods of the story."
    • John stated in a web chat that he felt the early Games episodes had good art, background and story ideas, but were ultimately mangled by lousy direction. In the DVD Commentary for "Stimpy's Cartoon Show", he criticized some aspects of how the final cartoon was handled, namely for muddling its "Artist Vs. Non-Artist" message by changing Ren from executive to producer—while he did submit it in the cartoon as that in an attempt to avoid executive scrutiny, he felt Games used it as a chance to turn the cartoon into an attack on him instead of meddling executives (although he was ok with that), and that there were weird expressions that didn't really work in context. He also criticized the Games episodes for their mean spiritedness and ruining the chemistry between the two leads.
    "Elinor Blake and I wrote Stimpy's Cartoon Show and I had planned for that to be an epic, but the direction was pretty bungled. I explain it all on the commentary. The first Games DVD is coming out soon. I'd say it's definitely worth getting. Lots of good artwork, great backgrounds and some good stories-alas, no discernible direction."
    • He didn't hate the episode 'Fire Dogs II', but he felt it suffering from very poor timing.
      "Incidentally, this cartoon suffers from some piss-poor timing, because we had just started the new episodes and were trying out a new system of shooting storyboards and timing them to music. A lot of the gags would play better if I could go back and cut them tighter. I apologize in advance! (Just run it in fast forward!)"
    • Billy West does not like talking about working on the show and refuses to work with John Kricfalusi ever again, citing having a bad experience with him on and off it. In particular, Kricfalusi demanded West quit the show alongside him in order to force the network to hire him back even though West needed the job and could have been blacklisted alongside Kricfalusi had he done it and failed, and West just saw the show as a job anyway and didn't feel any obligation to be loyal to Kricfalusi.
    • To a lesser extent Bob Camp, while he enjoyed working on the show, he has similar bad memories working with Kricfalusi and executive demands, and wasn't satisfied with a lot of his directed episodes during the Games Animation seasons.
    • Animator/character designer Robertryan Corey best known for his work on Spongebob Squarepants and Gravity Falls worked for Kricfalusi on Adult Party Cartoon, stating it was a dream of his come true having wanted to work on Ren and Stimpy since he was a kid, but he said Kricfalusi was very demanding of him and didn't treat him very well.
    • On a non-Ren and Stimpy note, He is equally critical of his work on Mighty Mouse: The New Adventures. He talks about it on this blog post.
      • He also detested his work with Heathcliff and the Catillac Cats, which he deemed "mediocre." Other people who worked on that series, including Chuck Lorre, Scott Shaw and Eddie Fitzgerald share his sentiments despite the cartoon being fondly remembered among those who grew up watching it.
    • The Ripping Friends is also apparently very hard for him to watch because of all the Executive Meddling.
  • One seems to get that impression watching the 3rd Family Guy Star Wars special It's A Trap!. In the opening scene, the entire family groans and an annoyed Peter says "Let's get this over with." followed by the opening scroll that turns into a massive rant about how they (they being Seth MacFarlane and the rest of the crew) never wanted to do this nor Something Something Something Dark Side and only did so so Seth could do other projects without them (them being 20th Century Fox) complaining. Given that Family Guy does a lot of throwaway lines, it can be hard to tell they really meant it (though admittedly this seemed even more hostile than usual), at least until you listen to their DVD commentaries; turns out they meant every word of it.
    • Episodes of Family Guy use tons of Self-Deprecation gags about the show or other works the creators are responsible for (the Star Wars specials also include several jibes to Seth Green's Robot Chicken). Granted given the overall tone of such gags (and the fact they are expressed by less than sound individuals in the show) it may also count as Take That, Critics!.
    • Seth MacFarlane outright admitted that he stopped voicing Tim the Bear after a single season of The Cleveland Show because he felt the character was horrifically unfunny. Incidentally, when Cleveland Show was cancelled and the characters returned to Family Guy, Cleveland's introductory scene was a few straight minutes of MacFarlane's other characters lampooning the show.
  • Phil Vischer - upon giving an interview regarding the series Jelly Telly - mentioned that he now considers his earlier series, VeggieTales, as something of a failure because it stressed basic morals while largely downplaying the Christian beliefs behind those morals; Vischer says that Jelly Telly was created to rectify this problem. Though in a later podcast Phil posted (which no longer exists), he says that he still like working with the show, and knows that it's in good hands with Doug TenNapel.
  • Though the Awdrys co operated a lot with early seasons of Thomas & Friends, they voiced some dislike for some of the show's original stories, due to the unrealistic plot points occasionally used (particularly the episode "Henry's Forest"). Wilbert Awdry in particular wrote letters of disgust to series writers David Mitton and Britt Allcroft, accusing them of becoming "big headed" with his work. Christopher Awdry also resented having to write new installments of The Railway Series with Thomas as the main character to tie in with the show's popularity. He wrote "More About Thomas The Tank Engine" solely to give the show more material for episodes, and was rather dissatisfied with it.
  • Lauren Faust has expressed regret for the episode "Feeling Pinkie Keen" of My Little Pony: Friendship Is Magic, over the fact that the moral was badly written and came across as anti-intellectual. She has also expressed disapproval of the decision to make Cadance and Twilight into alicorns, citing Uniqueness Decay on the part of Celestia and Luna. She also didn't care for "Magic Duel", a Season 3 episode that was originally written for Season 2. She wanted to do something else for Trixie, even wanting the episode pulled.
    • She also came to dislike the "Equal Fights" episode of The Powerpuff Girls, feeling that she had tried too hard to incorporate adult-oriented subject matter (namely how to distinguish genuine feminism from Straw Feminism) into a children's show in a way that didn't do it justice.
    • She has also disowned the Foster's Home for Imaginary Friends episode "Everyone Knows It's Bendy", citing that the title character was an unlikable and unsympathetic Karma Houdini. She hated the episode as much as the fanbase did, and the character was then permanently written out of the series.
    • She has also made tweets expressing disgust for My Little Pony: Equestria Girls's dolls, and an interview with her husband said that she's "not a fan" of Equestria Girls, and apparently that would have made her leave if Hasbro approached her with it.
  • My Little Pony: Friendship Is Magic:
  • My Little Pony: Equestria Girls:
    • In response to fan complaints to the majority of the villains being Easily Forgiven, Equestria Girls series director Ishi Rudell revealed that he was also sick of the trend. However, he makes it clear that the decision to have such endings are out of his hands; whether he's referring to the showrunners or Hasbro executives being the source of the mandate is ambiguous.
    • Although he liked how the Spring Breakdown special turned out, writer Nick Confalone did not like how Comic-Con hyped up the Equestria aspect of the movie, as the focus of the film was the girls coming to terms with being heroes rather than interdimensional hijinks. He even apologized for anyone who was disappointed.
  • Co-creator David X. Cohen has stated that he feels that he "went too far" with the Futurama episode "In-A-Gadda-Da-Leela", in which the last scene consists of Leela trying to force herself onto Zapp.
  • Judging by the Credits Gags, the writers of Tiny Toon Adventures didn't care all that much for some of their episodes; to list some of them;
  • Craig Bartlett really detests the infamous Hey Arnold! episode "Arnold Betrays Iggy", which created a tidal wave of fan backlash. It was rumoured that as a result of it, he made the staff issue a public apology for making it (though he debunked this rumour in an interview), the character Iggy was almost permanently written out of the series (he never appeared in a speaking role again until the final season), and it was barred from airing on television until it was seen again on The '90s Are All That.
  • Similar to the examples from Tiny Toon Adventures, after the third "Muscular Beaver" episode of The Angry Beavers the first of the many Credit Gags seems to indicate what the writers thought of said episode:
    "Something stinks! Oh, wait, it's just 'Muscular Beaver 3'"
  • In part due to the fans' backlash over the season and their own distaste for having to incorporate more character development instead of the usual brand of off-the-wall humor or violent montages, Stephen Warbrick and Christy Karacas of Superjail! fame have all but disowned season 2 and have grown more vocal about how they disliked that portion of the show. One interview also stopped short of Karacas blaming a writer "John" (likely John J. Miller, who'd written "Lord Stingray Crash Party" and "Hot Chick") for issues with season 2.
    • Tellingly and fittingly with the show's Negative Continuity stance, some revelations in season 2 were later disregarded or overwritten in the following two seasons. In particular, "Jailbot 2.0" had caused very vocal backlash due to confirming Alice as a transgender woman rather than letting fans guess her gender, causing Karacas to regret ever making the reveal. "Special Needs" subtly altered her backstory to suggest she always had a more feminine identity (thus trying to rectify the unfortunate implications that she only transitioned to not be seen as gay to her boss), while "The Superjail Six" retconned her and Jared's arrivals at the jail and presented her as a lot more feminine than her present-day nature.
  • Andy Thom, who was the art director for Little Einsteins, has admitted his extreme distaste for working on Ultimate Spider-Man.
  • The Hobgoblin was a popular villain on both the comics and Spider-Man: The Animated Series—but this is a sentiment not shared by producer John Semper, who absolutely hated the character and thought the Hobgoblin was useless, and only included him because of decisions made by his predecessor as show runner and toys being made based on that decision.
  • Derrick J. Wyatt came to dislike his experience working on Ben 10: Omniverse, due to both how the network screwed the show over and its widely negative reception among fans as the worst of the Ben 10 sequels.
  • Miraculous Ladybug: Thomas Astruc wasn't happy with a lot of things being spoiled, including Alya, Chloe, and Nino wielding the Fox, Bee, and Turtle Miraculous respectively.
    • He also wasn't happy when a TV network revealed not only the names of the episodes of the third season, but also the descriptions. The things that they spoiled included the return of a few villains, and characters who had been Akumatized before being turned into new villains.
  • Batman Beyond: Max Gibson was hated by the production team. Going by interviews, the only reason they added her to the show was that the higher ups demanded a character girls could identify with.
  • Mark Newgarden, one of the original people involved in creating the Garbage Pail Kids trading cards, has voiced his distaste for the unaired (in the US) Garbage Pail Kids Cartoon, which he considers even worse than The Garbage Pail Kids Movie.
  • Total Drama:
    • Despite preferring Gwuncan over Duncney, allegedly Drew Nelson (Duncan) wasn't too keen on the way that the former couple came to be in World Tour.
    • Similarly, Megan Fahlenbock (Gwen) has supposedly said that she wasn't proud of Gwen's overall behavior in that season, mainly her handling of the love triangle.
    • Christine Thompson (an employee at Fresh TV in charge of their social media profiles) was greatly against the producers' decision to have Gwen and Courtney's friendship fail once more in All-Stars, in order to keep the drama between them going.
  • Gary Chalk didn't like how Optimus Primal was written in Beast Machines, comparing how Primal was there to a cult leader.
  • Alex Hirsch has admitted that "Dipper Vs. Manliness" is in fact the weakest episode of Gravity Falls. That said, he is still proud of it overall since it's still had some memorable jokes, and how the message hasn't aged in the current climate of gender identity.
  • One of the storyboard artists for Avengers, Assemble!, Ben Bates, said in an episode of the webseries Cutshort regarding a failed Captain Marvel spinoff, that he "didn't like" any of the Marvel cartoons in The New '10s, and that was part of why he pitched Captain Marvel.
  • In regards to Planet Sheen (the spin-off to the Jimmy Neutron franchise), John A. Davis later admitted that Sheen was a character who only worked in small doses, so giving him his own TV show caused his appeal to wear thin really fast.

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