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The channel’s decay either is in a situation where it doesn’t fit any of the other categories, or is constantly fluctuating between decaying and recovering.

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"We knew adults really didn’t care about the quality of animation. With children, if you had something brightly colored and moving, you could make it go. But with adults, they become bored pretty quickly with the dancing brooms unless it's exceedingly well done. From the start, words were more important than pictures."
Mike Lazzo, Cartoon Network executive who was formerly in charge of [adult swim] and Toonami.

  • If a channel can be given the title of "the MTV of the Internet Generation", that dubious honor would very likely belong to Cartoon Network, originally used as a showcase for animation owned by Ted Turner, including the classic Hanna-Barbera and Warner Brothers cartoons in addition to a few others. As time went on, the channel began to expand to include original productions and imports such as anime which helped fuel the anime boom at the turn of the century (thanks to Toonami and [adult swim]). The original intent of the network was generally summed up in its two slogans: "The best place for cartoons" and "a place where everybody gets their toons". In this period, year after year, the network aired cartoons and animations from at least nine different decades. By late 2000 Cartoon Network was considered the "crown jewel" of Turner Broadcastingnote  and its' primetime line up, which featured both original productions and the most popular archive programs, often competed for top total viewers in cable. Not just one demographic, total viewers.

    Complaints about Cartoon Network decaying came in two major waves that disagree with one another. One argues the seeds were planted in 2001 and bloomed in full in 2004. The second argues the first complaints were in 2004 and it really bloomed around 2007. Both of these periods mark important changes to how the network operated. To say there hasn't been considerable amounts of Fandom Rivalry between these two view points is an understatement — this is an argument where some refuse to admit the other opinion actually deserves to exist and some sites would have you believe the other side doesn't exist. This page will try its best to explain both and why they obviously will never see eye to eye.

    To set the stage for our first view point, we must go back to explain how Cartoon Network was ran. From its inception, Betty Cohen ran Cartoon Network under Turner (Cohen had previously worked at MTV). In 1996. the Time Warner merger had Turner and Warner Bros become sister companies. At the time, Hanna-Barbera was Turner's animation studio, and Warner Bros. (Television) Animation was, well, Exactly What It Says on the Tin. Upon the merger, it was then decided Time Warner didn't need more than one animation studio and wanted to merge them into one another. As explained in more detail on the Hanna Barbera page, that didn't go as planned (mostly thanks to Time Warner's crippling case of Right Hand Vs Left Hand, which dogged the company almost from its' inception, and AT&T's buyout is still in the process of fixing). In 2001, multiple events took place that drastically altered Cartoon Network's direction for better or worse.

    When it seemed Bill Hanna's death was imminent, Time Warner decided to abandon the multiple year effort to merge the two animation studios, instead taking a third option. Warner Bros. Animation was an animation studio with the WB, HB and MGM libraries under the Warner Bros. silo, and Cartoon Network Studios was an animation studio with the CN originals under the Turner silo. As a result of this separation, these two entities have had freedom from each other and, at times, allowed to have very different interests while being under the same corporate roof. Right before this, Time Warner officially became AOL Time Warner, and it was decided they wanted to merge The WB Television Network into Turner Broadcasting, and to speed up the process, appointed the WB's head honcho, Jamie Kellner to run Turner Broadcasting.note  Now, Betty Cohen had to answer to Kellner, and the two had wildly different ideas on how to run a TV channel. Cohen was the proponent of the network's animation library aspect and she hated concepts that limited the audience to a channel. note  This perspective was what allowed Cartoon Network to air so much diverse material and to be able to try more risky stunts. Cohen believed that they could try to find space on the network to get as many different viewers as they could. Kellner, however, saw a network more in the "business-by-the-books" approach. His main objective was to find a show that was a hit in a specific age range, and then use the good ratings to charge more of the advertisers at higher rates. Kellner viewed the Periphery Demographic as completely worthless. note  In addition to this, Cohen and Kellner clashed on several other issues, among them the Kids WB version of Toonami which forced the CN version to shrink, the branding of the upcoming [adult swim] being exclusionary and, most infamously, the June Bugs incident: CN wanted to air every Bugs Bunny cartoon in a marathon.note  Simple, right? But when the media caught wind of the fact that the marathon included some of the more controversial shorts, Warner asked them to reconsider. Kellner decided to pass the buck entirely to Cohen, saying he would leave it up to her but expressed he wouldn't air them, ensuring that any criticism would be deflected to Cohen. Only a few weeks after this dust up, Cohen announced she would be leaving the network.

    When Cohen left, Jim Samples took her position, and he had a philosophy similar to Jamie Kellner; the turmoil didn't end here, though, as Mike Lazzo was still head scheduler of the entire channel; he had been with the channel many years and was a proponent of Cohen's philosophy. This produced a tug-of-war effect on the schedule in this period as to what aired and what didn't. The first perspective argues this is where the decay was first crystallized. It argues the appeal of the network was its commitment to being an animation channel that tried to please a wide audience. During this tug-of-war period, much of the older material would be moved to graveyard time slots, or removed from the main channel (and in the case of Time Warner-owned programming, moved to spinoff Boomerang). Several of their top older programming (with Looney Tunes, Tom and Jerry, The Flintstones, and Scooby-Doo having the most consistent time slots) remained on the channel during this period, although less of their filmographies were in regular rotation. Toonzone back then had some inside connections that learned these spots that continued to be dropped were internally called "programming holes" and these were always filled with Cartoon Cartoons reruns. During this period (2001-2003), multiple other changes were made to how Cartoon Network had done business. Cartoon Network was no longer allowed to have an independent licensing division which had been an important part to their relations with third party shows. Cohen's requirement major employees had to have a decent knowledge of animation history was thrown out. There had actually been a test. Lastly many advertisers who used to buy on CN had become disillusioned with the network's new direction.note . 2003, though, marked two other important changes behind the scenes. Namely, Time Warner abandoned the idea of merging The WB into Turner and Kellner was shown the door. His replacement Phil Kent (and subsequent Heads of Turner) was far less hands on with the individual networks and as such doesn't really play into the history as much going forward. Mike Lazzo was Kicked Upstairs to only having control over the Adult Swim block (the quote above sums up how he took it). So from 2004 onward, Jim Samples controlled the direction of the network.

    While all the above is true, the other point of view, however, argues all of these were necessary changes to the network and that the "animation library" aspect of the channel was never what was what made the channel important as instead that honor belonged to the original content. The decision to run with more original programming created what they see as the network's Golden Age as well as becoming a major contributor to the The Renaissance Age of Animation by becoming more than a rerun channel. They also cite it generated and continued the popular shows that pushed against the Animation Age Ghetto (like The Powerpuff Girls and Dexter's Laboratory) that deserved to supplant more of the timeslots that used to belong to older material and non-original material when they became "old hat". This side also points out that, in Samples' defense, when Cohen ran the network she had been under the impression the studios were still going to be unified. By the time Samples came in, he had one in-house studio and a sibling studio they didn't get along with, making it rather clear why he'd give one more preference than the other in certain decisions. This side also argued the channel didn't abandon it's purpose with this new philosophy and that the channel needed the change to grow. This was also the stance of the channel's press department.note  To the network's credit it did survive this change and was able to stay a successful network without the original philosophy. However it is fair to point out that from then on the network only chased after hits in specific demographics according to Kellner and Samples' caring more for that. It was here that the channel's ability to gather strong total household numbers and compete to be top of cable stopped. All in all, the luster and respect from the cable world that lead to them being called a "crown jewel" dissipated and to this day has never returned to the network. note 

    For the second point of view, the real first shot to change the network was in 2004 when Cartoon Network changed its logo to the abbreviated "CN" and ended the Powerhouse era, a move that coincided with many of the original Cartoon Cartoons ending their runs, being replaced by shows like Foster's Home for Imaginary Friends and Camp Lazlo (the former being created by The Powerpuff Girls creator Craig McCracken and the latter being created by Nickelodeon's radar-dodging legend Joe Murray), which were well-received but couldn't match the impact of their predecessors. Nearly all the archive programming, with the exception of Tom and Jerry and some Scooby-Doo installments, no longer reran in prominence. Looney Tunes and the Boomerang block shared the 6am hour on weekends which were the only times they aired. Most of the Cartoon Cartoons that were no longer in production during this period were relegated to two installment series named The Cartoon Cartoon Show and Cartoon Cartoon Top 5 and the ones that aired separately mainly aired in early morning graveyard slots. The first group, however, saw this as a "what goes around, comes around" scenario. where now these shows that used to be the hot new things were now the old hats being replaced by the next generation of hot new shows as it echoed what happened to the earlier shows when the Cartoon Cartoons came in. However, a few months after CN City was introduced, the Boomerang slot as well as Looney Tunes note  vanished without a trace which led to those shows solely airing on the Boomerang network. Another change that came in this period was in late 2005, when they began running a small amount of live-action movies without any animated elements. note  Many of the fans of the second view believe these marked the crystallization of their decay where the network showed signs of betraying its roots. But one major event made it go through the roof.

    Then, in early 2007, already a turbulent year for television due to tensions between studios and the WGA, a major executive change at the network occurred when then-current president Jim Samples resigned over the controversy of the Boston Bomb Scare, with most of the network's execs becoming collateral damage (including Jay Bastian and Khaki Jones, the former being transferred to WB Animation). Shortly thereafter, then-Vice President Jennifer Davidson passed away due to a sudden illness. This resulted in Cartoon Network’s two head honchos both being replaced by Stuart Snyder and Robert Sorchernote .

    Some fans hoped that Snyder would restore CN to what they considered to be the channel's peak years, but it soon became clear the changes would be going differently. Snyder kept some of the Kellner/Samples philosophies, as CN not only continued to phase out their older original series, including Ed, Edd n Eddy and The Grim Adventures of Billy & Mandy, but Snyder also wanted to run the network more like its competition; he was far more willing to try radical alterations, and then yank the rug out from under them if they underperformed. This new direction wound up causing considerable internal tension by imposing tie-in campaignsnote  and constantly shuffling timeslots, the result being the defection of many creators, their shows being replaced with a large amount of imported animated shows (mostly from Canada), while original productions declined considerably note , possibly in response to rumored labor issues (apart from the imminent writers' strike, some people claiming to have worked for CN at the time have mentioned issues with either domestic or Asian animation teams). Before long, the network fell deeper and deeper into Network Hell as its executives tried to turn it into a generic boy-targeted network to compete with Nickelodeon and the Disney Channel (both of which had began to focus more on "tween" girls). This included emphasizing action-oriented cartoons, especially Ben 10, which alienated those who preferred humor-oriented series, with only two original comedy cartoon shows running between late 2008 and early 2010 (Chowder and The Marvelous Misadventures of Flapjack). Toonami was scrapped to the horror of anime fans (as was its replacement, Miguzi), being replaced with more frequent showings of live-action films. The decay also forced [adult swim] and Boomerang to decay as well, to heavy disdain by their fanbases. This attempt to rebrand the network came to a head when CN Real, a block of live-action reality shows and scripted series, was created in 2009 (there is some dispute as to the direction of causality, with some claiming that the turn toward live action was prompted by losses of animators). To the surprise of nobody except the network higher-ups, CN Real tanked harder than anything the network had ever done before while the fledgling Disney XD channel became more successful with the pre-teen boys demographic the network had been after.note 

    The channel slowly began realizing a change was needed, they made an effort to return to their roots with reruns of Tom and Jerry, Looney Tunes and the like as part of their regular weekday morning lineup, and launching new animated series aimed at older audiences like Star Wars: The Clone Wars, Adventure Time, and Regular Show. Meanwhile the channel attempted to reboot older properties through shows like Scooby-Doo! Mystery Incorporated and The Looney Tunes Show. CN also gradually phased out its live-action shows (which no longer carried the CN Real brand for obvious reasons, getting little to no advertising in stark contrast to the marketing CN Real initially got), to the point that all that remained of it was Hall of Game, an annual Kids Choice Awards-esque sports awards event which never got much attention and was effectively cancelled after the 2014 event (nevertheless, the channel still airs live-action movies like Diary of a Wimpy Kid on Saturday evenings and Sunday afternoons). The much-appreciated revivals of both Toonami and Cartoon Planet (the latter done as part of the network's 20th anniversary celebration) brought fans new hopes of Cartoon Network returning to its former glory.

    On the other hand, Executive Meddling was still very prevalent, as evidenced by the network's constant timeslot-shifting shenanigans and swift cancellations, this time regarding action shows such as Sym-Bionic Titan and ThunderCats (2011) as well as DC Nation's Green Lantern: The Animated Series and Young Justice. Some of this can be blamed on the network keeping to the Kellner philosophy. The network greenlit most of these aiming at certain demographics, but ended up becoming more popular among other groups (for example, the DC Nation block was conceived and timed to attract pre- and young teens, but attracted a young adult audience that was severely hampered by the time slot and didn't extend much beyond the vocal internet following that praised it). The ever-present internal issues between Warner Bros. and Turner allowed many of the DC, Hanna Barbera and Looney Tunes fans to feel their new productions were often getting the shaft in scheduling whenever they fell out of favor with the network. Few of which have been able to say they stayed in a consistent airing pattern for their entire run.

    Times however changed again after the departure of Stuart Snyder as CEO in March 2014, and Christina Miller became his replacement that September. Miller's era however became categorized by the network trying to find a show that was a major hit and spam it to points that would even make Scooby-Doo faint. (Some of this is a remnant Kellner's theory and in the process one of the only ways CN could keep up with its production pace in a declining cable sphere. The bigger the hit the more money they can charge for ads. Replay the show over as much of the schedule and thus increase the money you make). The main architect behind this was scheduler Vishnu Atreya, who'd come from CN's Asian outpost and had employed the same tactics in Asia with the Ben 10 franchise. One of his favorite shows for this cause was one exception from Warner Bros., aka Teen Titans Go!.

    When Teen Titans Go! —an extremely divisive show that is also a ratings success— started to get more and more airtime on the networknote , older flagship shows such as Adventure Time and Regular Show stopped airing reruns completely, and it was announced that Steven Universe would have reduced reruns to make room for Teen Titans Go!, though in the latter case, the decision was rolled back after considerable backlash (Steven Universe now has reruns in special blocks themed around a certain character or concept). Many blamed Christina Miller and often accuse her of being a Moral Guardian who finds Adventure Time, Regular Show, and Steven Universe too violent and raunchy for kids, with a few as-of-yet unfounded conspiracy theories stating Miller was using Teen Titans Go! as a weapon to artificially manipulate ratings and justify cancelling anything with too many radar-dodging antics, gratuitous violence, or shows acquired from elswhere (namely Teletoon series and anime considered too kiddie for Toonami). With Uncle Grandpa unceremoniously cancelled, having its entire production crew laid off, and left to be burned off in a graveyard slot, Transformers: Robots in Disguise (2015) left to languish in another graveyard slot with no reruns, Regular Show and Adventure Time both wrapping up production for their shows and having aired their final seasons (the former ending on its seventh season in 2017, and the latter concluding on its tenth season in 2018), Pokémon, which aired on the network for a decade-and-a-half, channel hopping over to Disney XD with much success, Teen Titans Go! being renewed for a fourth and fifth season and getting a theatrical movie despite flagging ratings, and the base-breaking reboots of The Powerpuff Girls and Ben 10 that tried to copy the Teen Titans Go! formula of having bright colors, loud noises, sadist humor, and sad attempts to be hip and now (case-in-point: a particularly infamous scene in the Powerpuff Girls reboot where Blossom and Bubbles TWERK), it was uncertain whether the channel would continue as it was, with the network pushing people to watch episodes of their shows on the website or via apps (which has attracted criticism for not everyone has access to mobile devices or fast-enough internet connections for this to work). The Christmas 2017 week where TTG was the only thing to air besides two "new" episodes of Steven Universe (episodes that had been released on the app a month prior) also seemed to anger Cartoon Network purists, but that may have been the network's main option in a week where more kids are going to watch programs through the network's app away from home (see above), watching Christmas programming on Freeform or Hallmark (as late as 2013, Cartoon Network would still air the Christmas episodes of shows that had long left the schedule, including Johnny Bravo, The Powerpuff Girls, Ed, Edd n Eddy, and Courage the Cowardly Dog), or are doing other things besides zoning out to a loop of TTG reruns. Eventually, even the target audience of Teen Titans Go! got tired of watching the same show over and over again, and Cartoon Network found itself hemorrhaging viewers who jumped ship for Nickelodeon, Disney XD, and Hub Network/Discovery Family.

    However, 2019 was a year of uncertainty — AT&T, having bought the entirety of TimeWarner (renaming it to WarnerMedia), has been busy reorganizing the company to increase synergy and decrease the constant feuding between divisions; for CN, however, this didn't translate into much at first other than CN being assigned directly under Warner Bros. CN spent most of 2019 burning off the large back catalog of shows CN had finished but not aired. As if the DC, HB, and LT fans didn't have enough to complain about, OK K.O.! Let's Be Heroes was canceled and out of production with its third season, when only half the second had even aired. Mighty Magiswords had been finished longer and only finished airing under this new period. The announcement of HBO Max, an all-encompassing streaming service featuring content from CN and its' various sister properties, also caused some doubt about if AT&T knows how to handle the channel, as some of CN's shows and projects that were in production before this are now HBO Max originals (such as Infinity Train) and HBO Max is strikingly similar to the philosophy that governed the Cohen era (meaning it will feature a diverse range of old and new content to attract a wide audience) causing speculation some of Kellner's philosophy may finally be exiting the channel. However, the new direction would be without Christina Miller and Mike Lazzo (the former leaving the network late in 2019 and the latter quietly retiring). As 2020 came about there was no official direction announced until AT&T began their major rearranging of the studios in August where it appeared they intended to merge many of the independent studios and streaming services into each other. Cartoon Network Studios was officially put under control of WB Animation's Sam Registernote , and Rob Sorcher departed for a creative job in the television division. The AT&T merger also caused other problems, such as pilots being rejected and fewer upcoming shows, with most of them being acquired or based on pre-existing properties. While the studios are still separate for now anyone who knows their history or read these pages knows that is exactly how the 1996 merger started. Regardless though the most symbolic move of the process being most of the executive power are new hires with no baggage in the WB vs Turner feud. The two people who have been given major promotions, Register and Ouweleen, are both veterans of the pre-Kellner CN. Outside of the presidents Sorcher was the biggest post-Kellner executive voice and now he is gone. The impression seems to be leaning that the culture that ruled the network since 2001 is being slowly rolled back.

    In the end, Cartoon Network is one of the most intriguing examples of Network Decay, if only because of how much of a rollercoaster ride the network's ridden in regards to the trope and in how different generations interpret what the channel meant to them. For many, it is the channel where they first met a lot of the cartoon characters that they love, and is an important part of their childhood memories. It remains a very sad story, as at the same time, the same channel that used to be in competition to be at the top of the cable networks in terms of total viewers, was being looked at with uncertainty and possibly apathy by AT&T. But that being said, the lights are still on and with a direction in mind might be able to glow once more.
  • Boomerang, Cartoon Network's classic animation channel, has a run in with this. Boomerang began as a block on Cartoon Network that would try to replicate a random year's saturday morning (with Retraux style and bumpers). Betty Cohen launched Boomerang as a separate channel with the intention of being an addition to the network. It was originally only programmed for eight hours, and those eight hours were then repeated three times each day. The idea was, when Cartoon Network couldn't air some older shows as often as they used to, those shows could be regularly shown on Boomerang, for those that preferred to watch them. It was still the intention to have the lineup on the channel and Cartoon Network's archive slots to rotate each month. However, after Cohen left, the main channel Boomerang became more of a retirement home for every show the main Cartoon Network had no interest in airing (with the Boomerang block itself eliminated in 2004).

    As this continued, they added more contemporary fare from CN and Warner Bros. as well as acquired programming from then-recent years that they still had rights to. As time went on, more and more shows also began competing for the same limited airtime, even including reruns of shows still airing on the main channel in certain casesnote . Meanwhile, the remaining older programming Boomerang did use became subject to oddly selective programming choices, with some Hanna-Barbera shows and post-2000s WBA cartoons getting top priority over other cartoons in the network's available catalog. And we should note not everything that aired on the Cohen-era CN ever made it to Boomerang's channel and some of the shows that did haven't been shown in years.

    Adding insult to injury was that only two types of commercials that were actually related to the network (the American one, anyway) were shown on the channel when CN's decay was in full effect: "Boomer-Royalty" and a random commercial about a show they air; all of the network's promotions were never updated, meaning a Powerpuff Girls promo from 2012 strangely had to coexist with a Huckleberry Hound ad which has been part of their promo loop since 2001. Everything else was promoting (mostly) live-action shows on Cartoon Network as well as action shows and kids' anime that the main channel has no interest in promoting, with Boomerang never promoting the airtime for shows that weren't on CN. Also not helping was the network's interest to only promote a handful of shows they actually air (mainly shows they've aired when the network launched, as well as a handful of additions to the lineup). And if there's a special event coming up on CN, commercials for the event would air between and after the show at least once or twice. The network has since changed their position to air advertisements for other products like other channels. Not helping was a lack of distribution outside of satellite providers, many cable systems, namely Xfinity, Spectrum, and Charter, still don't carry Boomerang (though in fairness, at least it survived, unlike CNN's spinoffs CNN/SI and CNNfn).

    All feeds of the network worldwide got a international rebranding throughout 2014 and 2015 with a new focus towards younger viewers, the inclusion of paid advertisements, and the addition of newly-acquired animated series—all of which introduced a series of interesting changes. Their aformentioned commercial problem is long from gone which you can tell because a good portion of the clips on the Boomerang Theater promo are from movies that no longer air on the channel. Heck, they even aired a Be Cool, Scooby-Doo! ad (which is the same ad that was used since the program debuted on the channel) when the show wasn't even airing on the network. During the summer of 2015, through their "Pet of the Week" event, the block featured the return of Courage the Cowardly Dog and the network premiere of The Sylvester and Tweety Mysteries. Boomerang has also recently dabbled in new series dealing in classic characters and franchises, such as Wabbit: A Looney Tunes Production, Be Cool, Scooby-Doo! and Bunnicula (the former two were originally supposed to air on the main network, but were punted to Boomerang to make room for more Teen Titans Go! reruns), as well as airing new episodes of The Tom and Jerry Show and The Garfield Show. On a less popular side, the notorious Teen Titans Go! (as mentioned above), as well as The Amazing World of Gumball, also started airing on Boomerang, even leading to a stint of they shows running everyday by early 2016, though they didn't air as often as they did on the main Cartoon Network channel, with them only airing during the times the main channel was showing [adult swim] programming. Both shows were pulled from Boomerang's line-up in April 2017. The rebranding also resulted in the loss of the long-running vintage format of the original network (right down to the logo, which now looks like a tweaked version of the 2010 CN logo), as well as older cartoons that weren't Cash Cow Franchises (namely, Looney Tunes, Tom and Jerry, the latter of which includes Filmation's infamous 1980 series, The Smurfs, and Garfield and Friends, which hasn't aired on Boomerang in years, are the only holdovers of the old format) and/or popular with older CN viewers being dropped from the network, despite executives promising that classic cartoons would co-exist with the newer cartoons on the channel. While there were positives and negatives about the reboot at hand, things slowly started to look bright for the future.

    However, this was shortly succeeded by the network launching a subscription VOD service under the Boomerang name. The major change was that this service was co-owned by the Turner and WB side marking for the first time since Kids WB ended Warner people had some say over how their shows and back catalog could air. The service was focused on classic cartoons, which has largely usurped the Boomerang channel's role on the remaining retro-based programming it had left. Aside from making available for viewing a large vault of Warner Bros. owned classic animation, the streaming service also gained exclusive dibs on broadcasting new content relating to the new classic-based series Boomerang was supposed to air.note  This has left the channel as a rerun/dumping ground feed for a handful of former CN/WB shows and acquired shows that CN doesn't really hold in high regard, with Looney Tunes and Tom and Jerry shorts used to fill in roughly half of the schedule. (CN's lack of interest in the Boomerang network becomes pretty evident when one considers that out of all the television channels targeted towards kids/families available in US households, the Boomerang channel comes dead last in coverage by a large margin.)

    Surprisingly for all, though, in January 2018, some found a new life in Boomerang, as Dexter's Laboratory, Foster's Home for Imaginary Friends, The Grim Adventures of Billy & Mandy, and Codename: Kids Next Door, which were dropped by Boomerang in April 2017, returned to the network's schedule, albeit only late at night at first. Then, Chowder returned to the network in March of that year, which was also when the network began airing an hour-long block where the five aforementioned classic Cartoon Network shows were aired during the day, with the block rotating which of those shows would air each week. This block was dropped the following month, but Boomerang reached the highest peak of its rebrand in the summer of 2018. In late May, Ed, Edd n Eddy and Johnny Bravo returned to Boomerang's line-up, making it the first time that they've aired on Boomerang since a few weeks prior to the rebrand note . Additionally, during May and June, Adventure Time, Regular Show, and Steven Universe began airing on Boomerang, to the excitement of viewers of those shows who felt like they were screwed over by the main Cartoon Network channel. Even better, the four Cartoon Network originals who returned to the schedule in January 2018 received daytime timeslots again (airing on weekends for an hour each). Unfortunately, the Eds and Johnny Bravo were taken off of the network only two weeks after originally returning, but the good news was that their replacement show was The Marvelous Misadventures of Flapjack, airing on Boomerang for the very first time note , along with the returning The New Scooby-Doo Movies, Scooby-Doo! Mystery Incorporated, and the original Ben 10 series (making its first rebrand appearance), replacing the 2016 reboot. However, even that change didn't last very long, as Flapjack and the Scooby-Doo shows, as well as Steven, left the network in late July. Thankfully, though, those changes led to some Hanna-Barbera cartoons returning to the schedule, such as The Flintstones, The Jetsons, The Smurfs, A Pup Named Scooby-Doo, and Tom & Jerry Kids. At this point, though, it shouldn't be a surprise as to what happened to those shows (except for The Smurfs, which, surprisingly enough, still airs on Boomerang to this very day). The pint-sized Hanna-Barbera gang's two shows left the schedule in late September, followed by the prehistoric and futuristic families in mid-November. Then, the duos of Finn and Jake and Mordecai and Rigby left the network in February and April 2019, respectively note , with the Tennyson family following suit in March. The other five classic Cartoon Network shows still air on Boomerang, but only late at night again. Then, in late May 2019, the channel fell even further, with the classic Cartoon Network shows flat out disappearing from the channel. note  The network's schedule now mirroring Cartoon Network's in terms of oversaturation as now all that airs is Looney Tunes (including New Looney Tunes and Baby Looney Tunes) and Tom and Jerry (including The Tom and Jerry Comedy Show (as a part of their daily Tom and Jerry blocks), The Tom And Jerry Show and Tom and Jerry Tales). The only shows that don't fall into this trap are Garfield and Friends, Care Bears: Unlock the Magic, Dorothy and the Wizard of Oz, DC Super Hero Girls, Bunnicula, and The Smurfs (each only getting around an hour or half hour of airtime a day with DC Super Hero Girls and Care Bears get a half hour of airtime on weekends only at 8AM and 7AM respectively). Not even Scooby-Doo has the presence he used to have on the channel, aside from airings of the movies, as the only Scooby-Doo series to air on the channel is Be Cool, Scooby-Doo! (which is the sole non-LT/T&J show to air more than an hour a day). To make matters worse, the network now mostly just airs a selected few episodes from those shows repeating them on an endless loop, and their daily movie block now only airs a handful of Scooby-Doo films (Such as The Mystery Begins or Stage Fright) and Tom and Jerry films (the DTV ones such as The Magic Ring or Meet Sherlock Holmes). It seems that Cartoon Network is trying to bore the few remaining viewers of the channel so they can use the network's streaming service instead, but we'll have to see if that's indeed the case.

    In comparison to Cartoon Network in the post AT&T buyout, Boomerang was slow to burn off it's remaining shows. For the WB Animation people the next generation of legacy properties will be the first to be ordered without any input of the old Turner management, as such leaves everything prior to this looking like lame ducks. In 2020 though people noticed that they began burning off the last seasons of The Tom and Jerry Show and Dorothy and the Wizard of Oz on the channel itself rather than the streaming service. Where by comparison the seasons of Scooby-Doo and Guess Who? being put on the service but not on the channel. It would appear they are trying to give both something exclusive for now. Yabba Dabba Dinosaurs was cancelled before it even got a chance to air, while JellyStone and Looney Tunes Cartoons were sent off to HBO Max. While it is unlikely they will reboot Looney Tunes over this change given the reception they were given only from this new incarnation, but the chances the HB-RS-MGM legacy properties are in line for new no Turner management incarnations seems rather likely with Jellystone probably serving as the bridge between this change. Whether AT&T plans to use the Boomerang channel or service for this or if these all will be for HBO Max or Cartoon Network will just have to be waited on.
  • Asia’s Cartoon Network and Boomerang in the late 2000’s really had a problem in regards to where their programming was supposed to be placed, going to the point where all new shows premiere on Boomerang Asia while Cartoon Network Asia restricted itself to airing mostly old classic Hanna-Barbera cartoons and Ben 10, with an occasional mix-up every now and then. Eventually Boomerang Asia was canned and eventually replaced with an Asian equivalent of Toonami and focused its mission on action shows while Asia’s regular CN shifted towards animated comedy, though the shenanigans of Ben 10 and old HB cartoons still remain, even with Boomerang relaunching and running alongside Toonami and the main Cartoon Network channel as of 2015. At this point, Boomerang aired mostly third party programming alongside the occasional old cartoons, Toonami focusing on action shows and anime, and the main network airs animated comedy, old HB/DFE/WB cartoons, and Ben 10.
  • Although Cartoon Network eventually started returned to its roots in the USA (although depending on whom you ask, it could be teetering the line between the two more recently), it's hardly like this in Latin America, and is flip-flopping between this and Slipped. During their earlier years, the channel was simply a Latin American version of its parent channel in the USA (it was launched a mere six months after the U.S. channel), but by the end of The '90s they started to branch out on their programming choices, with the Latin American premieres of Pokémon, Cardcaptor Sakura, Rurouni Kenshin, and others before they added Toonami in 2002, airing shows also seen in the U.S. block like Dragon Ball Z, Inuyasha and Mobile Suit Gundam Wing.

    It's quite debatable when exactly the channel dipped into Network Decay. For fans of classic animation it was right when the channel added anime, for otaku it was right when anime started disappearing, and for others it was when Ben 10 got literally all the channel's attention.

    It should be noted that the Latin American subsidiary has four different signals: one for Mexico, one for Argentina, one for Brazil, and one for the rest of Latin America. Around late 2003, in Mexico, all of Toonami's anime moved into a midnight timeslot due to complaints from parents that the series aired were too violent for their children. Not only that, the Mexican sponsors had a good regulation and patrol of this block, so rumors say that they were the ones who mandated to change the block's timeslot. In late 2004, the rest of the Latin American signals followed suit. Toonami itself was cancelled in March 2007, although its former timeslot still aired anime (in part due to their promise to air every single episode of Dragon Ball, from the original to GT, including the movies and special episodes), which depending on the feed, lasted until December 2008.

    In 2005, it was obvious that they were rapidly losing anime licenses, especially since Animax had just premiered. Around late 2005, CNLA announced that they were going to add [adult swim] into their weekend's late programming to fill the "dead" hours of Saturday and Sunday. However, it also started some debates in internet sites and forums when people started it to compare with the American version (that was still showing anime). Of course, the guys behind the Latin American AS went into their way to mock this and people didn't like it. However, this ended badly when the block was censored by some cable operators, and even separated from its own channel, in countries like Argentina and Chile. This was mainly because parents were letting kids stay up so late to see AS when the programming was obviously not directed at them. Eventually the block was moved to sister channel Isat in early 2008, and disappeared completely from there in January 2011.

    When Ben 10 premiered in 2006, it was extremely well-received so they went out of their way to focus on it. This had a few unfortunate side-effects, as the Grand Finales of Foster's Home for Imaginary Friends and Codename: Kids Next Door, as well as the 10th anniversary special of The Powerpuff Girls were glossed over. Even worse, the remains of Toonami were pushed even further into overnight slots, with shows like One Piece and Ashita no Nadja that were clearly not meant for a 3 AM timeslot airing at said time. Eventually, Pokémon and Naruto were the last remaining anime on the channel.

    By 2008, the channel was inheriting the American network's Network Decay in the States, and though it had CN's original series and late-night showings of classic Looney Tunes, Ben 10 was still Adored by the Network, at almost 10 showings a day. Then they started showing live-action movies - to be fair though, the movies were where most of the live action was. Live-action shows like Kamen Rider Dragon Knight and Unnatural History were the first to premiere in the Latin American channel, as former CN Real shows like Destroy Build Destroy and Dude, What Would Happen? would not be added until FOUR years after premiering in America, and they vanished swiftly after premiering. In the same year, the channel adopted a new slogan that perfectly summed up their programming choices for the majority of CN viewers: Hacemos lo que queremos (literally "We do what we want to").

    At the time the channel passed into their own Noods era in 2010 (Toonix) and a little bit before the Check It one (the LA signals were the LAST ones to get into it), the programming schedules were at least somewhat stabilized with Adventure Time and Regular Show... and then the channel started to be beaten up in ratings by Disney Channel and Nickelodeon. A controversial decision was also to add, in late 2010, reruns of the Mexican classic series El Chapulín Colorado and El Chavo del ocho, which many CN fans did not like due to the fact both series have reran constantly for decades in other channels (they did not last much in CNLA, however, and were later moved to Boomerang and then to the LA version of TBS). CNLA then tried to beat Nick and Disney at their own game with new live action like Level Up and the original Latin American co-production with Televisa entitled La CQ, basically a mix-up of every U.S. sitcom aimed at teens that takes place in middle/high school (its name is the spelling of secu, abbreviation for secundaria, Spanish for middle school or high school depending on the region), and which got much criticism among the channel's older viewers up until it ended in 2014 and was removed from the channel in early 2015. CNLA also began censoring content on several of its programs, most notably on Regular Show, and for unknown reasons, it began to speed up or cut the opening and closing credits for most of their programs. Not only that, the commercial breaks started to become longer than usual, as the channel's series began airing for blocks of 15 minutes with some animated shorts playing between them.

    By 2017, the channel has been really in a rollercoaster, and it still got criticism for the censoring done to several programs and for having most timeslots dominated by CN's current animated lineup (Adventure Time, Regular Show, The Amazing World of Gumball, Steven Universe, Uncle Grandpa, Teen Titans Go!, Clarence, We Bare Bears and The Powerpuff Girls (2016)) to the expense of everything else. Thankfully, unlike the U.S. channel, it had not been outright invaded by Teen Titans Go!, however, by 2019 that series now occupied a great part of the schedule along with Gumball, Unikitty and Steven Universe, with the remaining shows being either moved to dead timeslots or completely removed. Outside of Power Rangers Megaforce (which got transferred from Nickelodeon as they were not interested in any further series after airing Samurai) and some movies, however, the live-action content is thankfully now nonexistent. In regards to anime, besides Pokemon, which has never stopped airing (unlike in the U.S., where it switched over to Disney XD), the only series they have aired since the decay are Bakugan Battle Brawlers, Dragon Ball Kai,note , Digimon Xros Warsnote , Dragon Ball Super, and the 2018 Captain Tsubasa series. Compared to the U.S. channel, it seems that they aren't going to come out of their own Dork Age yet. As it was the case with Stuart Snyder and Christina Miller in the U.S., many people blame the current manager of CNLA, Pablo Zuccarino, for the decay (it doesn't help he has publicly said his objective is to make CNLA a channel completely appropriate for all children). Recently in September 2020, Cartoon Network allied with Crunchyroll to revive the Toonami block in Latin America with the joint broadcast of Dragon Ball Super and Mob Psycho 100, time will tell if the block can consolidate as its American counterpart.

    Latin America also had Boomerang's situation worse during the late 2000s/early 2010s. In 2006, the classic shows format was changed to an equivalent of India's POGO, first aimed at a family audience and mostly consisting of animated shows ranging from preschool to teen that had previously aired on CNLA, as well as Australian and British live-action series. In September 2007, the channel began airing reruns of the then-extremely popular Mexican teen soap opera Rebelde, and the success of that led the channel to change its profile and be now aimed at teenage girls, including CN Real shows, many MTV shows like Parental Control and Date My Mom, as well as series that had no place in what was originally a children's channel such as Gilmore Girls, The Secret Life of the American Teenager (you know, a series that deals with Teen Pregnancy), and The Carrie Diaries (a prequel to the very adult Sex and the City). On December 2008, they created Tooncast, which fulfilled Boomerang's original purpose. Then, on April 1, 2014, Boomerang L.A. suddenly rearranged their programming grill to get animation and classic shows back (in a move seemingly induced to homogenize the international feeds) and moved all their live action shows to the late night-early morning slot, to the happiness of almost everybody but the teens who followed Pretty Little Liars. The live-action shows were finally dropped in 2015.

Other "Unique Situations" examples:

  • By their very nature, sports channels which consist of nothing but college and high school sports (such as ESPNU, the Fox and CBS college sports channels, the Big Ten Network and ESPN's networks devoted to the SEC and Texas Longhorns) must decay in the summer due to the lack of college and high school sports being played. This means that they either carry minor league summer sports or some programming which strays slightly from the format, or air rerun after rerun of football and basketball games played months or years ago and with all of the drama of a live event removed with a simple check of the team schedule or even looking at the event's guide listing, along with reruns of coach's shows which could be awkward if said coach has been terminated since the first airing of an event.
    • Tennis Channel is in a similar situation. During major tournaments, particularly the four Grand Slams, it features nearly round-the-clock coverage, but at other times has to fill out its schedule with original programming — Tennisography, "classic" matches (sometimes cut down to half an hour), Best of 5, Destination Tennis (a travel show), but all tennis-related. The farthest the channel has drifted from its actual subject (except for the requisite late-night/early-morning filler of infomercials) is an occasional flirtation with badminton or ping pong, but as those are net sports they still easily count (since there will never be a market for The Badminton Channel in the States).
    • CBS College Sports mutated into the CBS Sports Network, and still shows all their college programming (including NCAA events and analysis shows), joined mostly by Jim Rome's show (after he got Screwed by the Network by ESPN) and sports leagues too tiny to be taken by any other network like pro lacrosse, the Arena Football League (it too got screwed over by ESPN), the United Football League and Alliance of American Football (which both fell apart in the middle of their first seasons, we must add, although the AAF did do relatively better) and the NBA D-League. One night, they even aired college paintball; one began to wonder if laser tag was on the horizon (of course, Neil Patrick Harris would have to host that). The network has gained some moderate sports rights recently, including the 3-on-3 Big3 basketball league (hopping from Fox), a new package of WNBA games, and more unexpectedly, a portion of a new contract for the UEFA Champions League beginning in 2021.
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    • Networks operated by specific pro sports teams go through similar issues during their team's offseason. The most common solution for filling airtime is broadcasting games of local/regional teams in other sports with different schedules; mostly these are teams who share ownership groups, but sometimes specific deals are made for TV rights. One example is the New York Yankees' YES Network, which airs live Brooklyn Nets NBA games when baseball season is done (with a bit of overlap), and has even branched out to airing replays of English Premier League soccer matches. In years past, the latter was confined to the occasional Arsenal match. But owing to Yankees ownership partnering with Manchester City for MLS expansion team NYCFC, YES now airs replays of Man City games, both Premier League and Champions League, in addition to team-focused programming from Man City's own dedicated network in the UK. The channel also has "filler" shows such as Running as well as a live radio simulcast, formerly Mike & the Mad Dog (later just Mike Francesca) and now Michael Kay. In 2014, Fox acquired a majority stake in YES Network, acquired broadcast rights to the partially Yankees-owned New York City FC, and became the new FSN affiliate for the NYC/Tri-State metro area (that was previously MSG Plus, which was once FSN New York).
  • The TV Guide Channel/Network, which started its life as the Prevue Channel, formerly existed as a channel which was half-devoted to 'barker' ads for cable movies and shows, with the bottom half devoted to an endless roll of a cable provider's TV listings. Over the years smaller things such as local weather and news headlines, along with junket interviews by the channel's movie 'critic' were added to the loop, until TV Guide's parent purchased it in 1998. From here, original programming was further added until digital cable, which provided programming listings with the boxes, came into vogue. Soon, the programming on top became more like that of Entertainment Tonight, and eventually the network attempted to kill E's red carpet coverage monopoly by hiring Joan Rivers, to little success. By 2009 and the digital transition, it was becoming clear that the future of cable and satellite would be electronic listings, so the channel began a slow phase-out of the listings roll. From there, corporate upheaval among the TV Guide properties left the TV Guide Network in the hands of Lionsgate, which finished off the promotional original programming altogether and turned the network into a rerun/movie farm until 2013, when CBS purchased it, added Big Brother After Dark, along with The Young and the Restless and The Bold and the Beautiful same-day repeats in place of the dying Soapnet, and launched an HD version of the channel without any listings infrastructure at all.
    • In 2015, the channel was relaunched as Pop TV, abandoning its original format for good.
  • When Pittsburgh's local PBS note  station WQED-13 first bought the former WENS-16 in 1959, it established a sister station, WQEX, in order to showcase educational programming it couldn't fit on the main channel. Then in the 1980's, after the original broadcast tower breaking necessitated a switch to colornote , WQED began running WQEX as its own station, showing imported British Sitcoms, reruns of old PBS shows such as Masterpiece Theatre, Movies, as well as Local oriented programming. The station became popular for this programming as well as its nightly sign-off, which featured "credits" that donors could have their name listed in. But during the 1990s, as the costs of writing original content, getting rights to broadcast the imports, and broadcasting increased, the station began to switch to a simulcast of WQED, save for some programming in the evening. As the new millennium dawned, WQED began having financial issues after the end of their old original show, Mister Rogers' Neighborhood, leasing out the station to the Home Shopping Network, then ShopNBC while looking for a permanent buyer; this is usually verboten for a public television operation since most use non-commercial television licenses, but since WQEX still retained a commercial license, was perfectly legal to do. The station was finally sold to Ion Media Networks, (which had been waiting for years to get a Pittsburgh station; a previous 1999 deal to acquire another station and swap the WQEX license with another religious broadcaster who could use it under that definition was shot down by the FCC), and became WINP in 2010.
  • GSN, originally called the Game Show Network, has had an on-again, off-again relationship with 1950s through 1980s classic game shows. At one time it wasn't unusual to find the likes of the black and white episodes of What's My Line? and To Tell the Truth filling up a programming block known as "Black and White Overnight," and reruns of the CBS Password and the original ABC version of Family Feud with Richard Dawson as host. When GSN lost the rights to many of those shows, older games were banished, and classic game show fans refer to this as "The Dark Period". When the network got a new management team, GSN brought the older shows back and even added few, like reruns of the Peter Marshall version of The Hollywood Squares and the original version of Press Your Luck. In addition, the network began concentrating on its own first run shows like Lingo and Whammy, in an effort to pull in younger demographics. While it's still not unusual for the network to remake game shows, older fare like the original The Hollywood Squares has become rare again. Still, Match Game reruns from the series' 1973–81 run have managed to remain a staple of the network. (Note that it's not unusual for fledgling cable networks to fill up their schedules with old movies or reruns of old TV shows, as they build a network and find ways to attract younger, 18-34 demographics. Even Comedy Central once reran ancient 1950s series featuring the likes of Steve Allen and Spike Jones as they built a network with first run fare like Mystery Science Theater 3000.)

    Of course, it still had a couple more missteps along the way as it got overrun with poker tournaments and reality shows on game show hosts in the late 2000s. Eventually these all but vanished and it started to focus on original programming once more with shows like The Chase, Minute to Win It, The American Bible Challenge, and Idiotest. Of course, the channel tends to be filled with reruns of Steve Harvey's Family Feud and moves the reruns of classic game shows to the early mornings, but game shows are still its primary focus.
  • In 2010, Discovery Kids, an outgrowth of the Discovery Channel which showed mostly educational programming similar to the fields of the parent channel, was replaced by The Hub, a channel backed by Hasbro which focused on the company's Merchandise-Driven franchises. However, this wound up being a major blessing in disguise, as many of the new shows went on to attract considerable acclaim and popularity. Of the international versions that were around at the time, only the Latin American feed remains: the UK version was replaced with Discovery Turbo (cars, bikes, boats, and planes), and the Canadian version was replaced on most providers by Nickelodeon (it is legally a separate channel, but the channel allotments were re-used on most providers). Strangely, shortly after the American version of Discovery Kids was replaced by The Hub, they launched an Asian feed of Discovery Kids. Carrying gems such as Wild Kratts, FETCH! with Ruff Ruffman, and Peep and the Big Wide World, the Asian feed is still alive and well today.
    • Sadly, the good times were not to last. Only four years and three days after the birth of The Hub, the hammer came down again. In July 2014, The Hub's president Margaret Loesch disclosed plans to step down by the end of the year. In September 2014, Discovery then announced that it would increase its stake in the network to 60% from 50, replace Loesch with Henry Schleiff (who leads some of Discovery's other digital networks), and re-brand it as Discovery Family in October 2014. Although Hasbro still has partial control over the network's programming (specifically daytime shows, meaning that The Hub's original programs still have a home), the primetime entertainment programming was thrown out the window and turned into a family-friendly permutation of Discovery Channel shows that have already been treated with blatant adoration. Oddly enough, this shift almost brings it back in line with Discovery Kids' original format, except that, as of its launch, it uses reruns of shows from the actual Discovery Channel and still shows general kids' fare. Many feel the whole thing is bittersweet, because after Littlest Pet Shop (2012) and Transformers: Rescue Bots were axed following their respective fourth and third seasons, My Little Pony: Friendship Is Magic remained as the network's only original offering that's still active, with the days of the network having a solid lineup of original content now a thing of the past. Some have even expressed concern that My Little Pony's toyline is the only thing keeping afloat not just the show, but the network as a whole; without it, Discovery Family has otherwise decayed into a Discovery/Hasbro rerun dumping ground, with the network's schedule now filled with shows that were either cancelled, ended, and/or already air(ed) on sister Discovery networks, or shows co-produced by Hasbro subsidiaries that were previously broadcast on YouTube or Netflix. Not helping matters is that the network has no western feed either, meaning that if you live in the Pacific Time Zone, you best be early to watch the shows there before 2:00 PM, or you'll be screwed, unless you have a DVR to record the morning shows.
    • In March 2018, Discovery acquired Scripps Networks Interactive, thus adding HGTV, Food Network, DIY Network and other sister channels to its lineup. Soon afterwards, endless reruns of Renovation Realities and DIY's various Crashers shows (which are already aired enough on their parent networks) have been added to its lineup, almost overtaking the other Discovery shows on the network (beyond Too Cute!).
    • 2019 would see the ending of the 9-year run of My Little Pony, as well as the premiere of Transformers Rescue Bots Academy. As of May 2020, the latter is the only original series on Discovery Family that is airing new episodes, as well as the only active series on the network that wasn't acquired from a different network or platform. A major far cry from a network that years prior had an active, eclectic lineup of original content and acquired series.
  • The Science Channel, or Science, zigzags between slipping and recovering every few months. Conceived as a channel that aired shows about real science, it shifted into becoming a more general STEM (Science, Technology, Engineering, Mathematics) channel and from this new baseline alternatively slips and recovers. The one show that has always remained prominent on the channel despite any other changes is How It's Made, mostly due to its low production costs, enormous episode library, and Fun for Some nature. Everything other than that, though, is up in the air - Science seems to zig-zag between showing largely real-science shows and showing, something else. It has at times run so much alternative content to have been nicknamed Sci-Fi 2 (Firefly, Fringe), the Survival Channel (Survivorman and kin), the Aliens and Conspiracies channel (The Unexplained Files, Unsealed: Alien Files, various questionable documentaries), and more, but it always tends to drift back to its core content of science and engineering-oriented shows and Speculative Documentary specials before going off in another unrelated direction again.
    • Its earlier (2014-2015) attempts to diversify its lineup away from 16-hour blocks of How It's Made caused dramatic slippage as mainstays of the channel's programming became science-fiction shows like Firefly and Fringe, the science-related but sensationalized Dark Matters: Twisted but True, and the Pawn Stars knockoff Oddities. They then started advertising heavily for An Idiot Abroad, a travel/reality show. These shows vanished with the later recovery and only Fringe and Oddities make rare appearances in the lineup.
    • This recovery then led to several knockoffs of How It's Made being made due to their cheap production costs, most prominently How Do They Do It, and it became rare for any non-manufacturing programming to appear for a while.
    • Circa 2016, the sensationalized "science" programs have taken hold once again, with Unexplained Files episodes (they also have a series dedicated to outer space, under the name of NASA's Unexplained Files) showing up in gluttonous numbers. Also prominent is What On Earth, a show about oddities found by satellites and what they are, often sensationalized with many conspiracy-theory explanations before revealing the actual cause. The Fringe reruns have also returned in very small numbers.
    • Late 2016 and early 2017 has seen many of the new shows attempt to capture the 'pop science' phenomenon that MythBusters did, such as Outrageous Acts of Science (a show that very briefly examines the science behind popular viral videos), Street Science (demonstrating simple but visually interesting scientific concepts in front of an audience), and a reality show to find hosts for a MythBusters revival, on top of marathons of the original show. How The Universe Works was one of the last bastions of 'pure' science that still got new episodes and decent advertising, though it was later joined by Space's Deepest Secrets, Strip the Cosmos (a Spin-Off of Strip the City), Impossible Engineering, and the last season of Through the Wormhole as the channel recovered. In recent months, old programs like How the Universe Works have been returning.
  • Comet is a free over-the-air multicast diginet (it's also available as a free mobile/TV app) that was launched in 2015 to fill the sci-fi television void left by Syfy. The network mainly airs sci-fi and fantasy movies, as well as shows like Stargate SG-1 and Mystery Science Theater 3000. From 2015 to mid-2017 it also aired Ring Of Honor Wrestling. Unlike Syfy, however, Comet had a valid reason to air professional wrestling on a sci-fi network; both Ring of Honor and Comet are owned by the Sinclair Broadcast Group, and ROH Wrestling had nowhere else to go to nationally after their twenty-six episode deal with Destination America came to an end. It helped that Comet is still a relatively new network and remains committed to stay true to its original format, and it was only an hour out of the 126 it programs per week. ROH is now on fellow Sinclair action diginet Charge!.
  • The Canadian cable channel CGTV (Casino Gaming Television) started with a focus on casino and gambling-related programming (mainly poker and a show about sports betting among other things). In 2007, CGTV re-branded as GameTV and essentially turned into a Canadian version of GSN (albeit the era when it was focused mainly on competition in general and not just game shows). It originally focused on classic Canadian game shows (such as The Mad Dash, Test Pattern, the Canadian version of Supermarket Sweep, Bumper Stumpers, Monty Hall's Split Second, and Talk About), and Australian and British reality shows. However, it eventually dropped many of these rarely-seen classics. Since its launch, it has also padded out its schedule with primetime movies (although when the channel launched, it promoted these with a contest feature as "Watch & Win Movies"), and since its acquisition by Anthem Media, assorted sporting events (particularly reruns of Impact Wrestling from its new sister Fight Network, Toronto Wolfpack rugby, and obligatory filler such as poker and lumberjack competitions), reruns of CBC's lifestyle talk show The Goods, and other reality shows (such as the Canadian Dragon's Den, Shark Tank, Undercover Boss, etc.). The channel was nearly sold to the RFD TV-funded Remuda Media (who wanted to turn it into a rural/country lifestyle channel. It had received approval for such a channel, but presumably wanted GameTV for the carriage instead), but the deal fell through.
    • In 2018, after a period when the now-cancelled Inside the Box and Celebrity Name Game were the only actual game shows left on the entire schedule (the rest being the aforementioned reality shows, sports, and movies), the network began to steadily recover in this department by picking up U.S. game shows for its daytime schedule, with series such as Tom Bergeron's Hollywood Squares for a period, Pyramid (initially the Donny Osmond version, but later the Dick Clark $100,000), Eubanks-era The Newlywed Game for a period, Match Game, classic Whose Line Is It Anyway? (the British, and later the U.S. runs), Super Password, reruns of the current ABC Celebrity Family Feud and To Tell the Truth, and most unexpectedly, Peter Tomarken's Wipeout (1988). With GSN's growing de-emphasis of classic game shows (it has historically been available on digital cable in Canada. However, it has also syndicated reruns of its second Chain Reaction reboot), and the lack of Buzzr in Canada (it, for a time, syndicated some late-night programming for Yes TV, but this arrangement ended in September 2018), it has shown its work in being a decent alternative (going as far as even producing a documentary series on Canadian entries in the genre).

How well does it match the trope?

Example of:


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