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Post by Ford Prefect on Nov 18, 2019 15:38:52 GMT -5
By modern widescreen HD standards, this is still pretty low budget compared to most shows that are being made now. I'm not sure what this means. You can shoot HD on a mobile phone nowadays. (according to apple you can shoot selena gomez music videos on your phone now.)
Beyond that, I'm sure kit-bashing to make a set and lighting and audio gear has gone up a little, but then everything goes up, it's basic inflation. I am pretty sure that the price of fresh, smart, creative, original comedy hasn't gone up at all. Just because you could feasibly shoot HD on a mobile phone doesn't mean that it's something professionals generally want to strive for. Especially if you're wanting to make the kind of show that could appear alongside other modern shows on a major network like Netflix. Music videos aren't quite the same thing, whether Selena Gomez appears in them or not. It sounds like you're agreeing with me about inflation regarding set, lighting,and audio gear, so I'll move on from that. What makes you think the price of comedy writing hasn't gone up? The reason there was a writer's strike back in late 2007 and early 2008 was because writers wanted better pay that reflected the changing monetization of entertainment in the digital age. We haven't even gone into the costs involved with obtaining the streaming rights to decent looking prints of movies and distributing them in six countries.
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Post by Diet Kolos on Nov 18, 2019 15:40:11 GMT -5
Ever since the Netflix era started, I keep seeing comments from old fans about how they need to lower the budget and that this will somehow make the show better. This isn't the 90s though and costs for everything have gone up. Plus they're a union production now and I don't think a lot of potential talent would want to emulate the behind the scenes setup Best Brains had back then. By modern widescreen HD standards, this is still pretty low budget compared to most shows that are being made now. I wonder how low the budget would have to get before people start complaining how they don't look like they're putting any effort into the production? Somehow I doubt the show's new fans have had this line of thought when watching episodes. It's not about money, it's about the process. It's the lack of care taken in making the show. It's about the lack of heart in the production and the workmanlike conveyor belt quality to the new show. It's about the bad editing in the theater with the riffs, because they're all recorded separately and spliced in later. It's about the low quality writing that has no discernible voice throughout the entire thing because it's written by different people every episode. It's about the rushed and low qualities host segments that could have used a few more takes but they couldn't because they were almost out of studio time with their actors, which actually would have benefited from MORE money. It's about that more thought was obviously put into hanging Gypsy from the ceiling than to actually giving her a voice and personality. It's about that more thought was given to thinking of fun ways to have robots fly and move around the theater than it was to give them anything funny to say. It isn't about the budget. It's about heart. Like mylungswereaching said, money is a symptom. They COULD do it for less money, non-union. Will that ever happen? Probably not. But if this is the monetary environment the show needs to be made in now, that makes it even more important to have an actual TEAM of full-time writers/performers to make the show and make it their own. Not this by-committee, one weekend a year thing that they've been doing. Because we, as the audience, need to connect to something beyond the base nostalgia of "wow! It's Tom and Crow!" (BTW, probably quite a few "potential talents" would LOVE the set-up BBI had. Total creative freedom on a full-time production? Writing AND performing credits? Carte Blanche to do essentially whatever you want? Create whatever you want? In New York and LA? That model doesn't fly. It didn't fly in the 90s, either. Anywhere else? What's to stop a talented, local group of people from putting on their own show?)
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Post by Ford Prefect on Nov 18, 2019 16:22:55 GMT -5
Ever since the Netflix era started, I keep seeing comments from old fans about how they need to lower the budget and that this will somehow make the show better. This isn't the 90s though and costs for everything have gone up. Plus they're a union production now and I don't think a lot of potential talent would want to emulate the behind the scenes setup Best Brains had back then. By modern widescreen HD standards, this is still pretty low budget compared to most shows that are being made now. I wonder how low the budget would have to get before people start complaining how they don't look like they're putting any effort into the production? Somehow I doubt the show's new fans have had this line of thought when watching episodes. The money is a symptom not the problem. The old MST3k was a team working together to make the show. The new MST3k is a bunch of individuals writing totally separately and then coming together and hiring a bunch of people who are technically excellent but aren't creative to make it. The show looks like its made by committee because it was. "A bunch of individuals writing totally separately and then coming together" is pretty much how they used to do Cinematic Titanic and how they've been doing Rifftrax for over ten years. Even on the cable series they had home writers like Bridget who started out contributing to the episodes without sitting around and watching with other writers. "A bunch of people who are technically excellent but aren't creative" I gotta hand it to you, that has to be one of the most memorable backhanded compliments I've heard in a while. Even if I shared your apparent dislike for the Netflix era, I don't think I'd accuse them of lacking creativity. Of course the show was made by a committee. All shows like this are made by a committee. The cable series was just made by a smaller non-union committee that you've afforded a greater amount of affection towards.
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Post by mylungswereaching on Nov 18, 2019 18:06:46 GMT -5
The money is a symptom not the problem. The old MST3k was a team working together to make the show. The new MST3k is a bunch of individuals writing totally separately and then coming together and hiring a bunch of people who are technically excellent but aren't creative to make it. The show looks like its made by committee because it was. "A bunch of individuals writing totally separately and then coming together" is pretty much how they used to do Cinematic Titanic and how they've been doing Rifftrax for over ten years. Even on the cable series they had home writers like Bridget who started out contributing to the episodes without sitting around and watching with other writers. "A bunch of people who are technically excellent but aren't creative" I gotta hand it to you, that's gotta be one of the most memorable backhanded compliments I've heard in a while. Even if I shared your apparent dislike for the Netflix era, I don't think I'd accuse them of lacking creativity. Of course the show was made by a committee. All shows like this are made by a committee. The cable series was just made my a smaller non-union committee that you've afforded a greater amount of affection towards. I actually like the Netflix show. I just think its missing something. In comedy timing is everything. A mediocre joke told well is better than a great joke told poorly. The Netflix versions seemed to be trying to jam as many jokes in as possible. The timing just felt off. They just felt like they were reading a script. It seemed like they didn't have time to do multiple run-throughs before filming. The version we saw felt like the first draft.I wouldn't be surprised that sometimes when Jonah was reading his lines it was the first or second time he had seen them. Both Rifftrax and Cinematic Titanic were written by people who had worked together as a team for years. Cinematic Titanic less so. But CT did the same movie over and over again. I would bet that if you asked anyone the shows got better over time. The first time they performed the show was almost like an advanced practice. The Rifftrax team has been working together for many years. They are all heavily involved in writing the script. I'm quite sure they do multiple run-throughs before taping the final version. Bill, Kevin and Mike all live in the same city. I'm not saying anything wrong when I say technically talented but not creative. A lighting person knows the many possible ways to light a shot and how to do it. They can be very creative about lighting. But they don't know how to write a comedy and no one expects them too. In order for the show to work, there needs to be a director who knows both the material and what to tell all the experts to do.
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Post by Ford Prefect on Nov 18, 2019 18:09:09 GMT -5
Ever since the Netflix era started, I keep seeing comments from old fans about how they need to lower the budget and that this will somehow make the show better. This isn't the 90s though and costs for everything have gone up. Plus they're a union production now and I don't think a lot of potential talent would want to emulate the behind the scenes setup Best Brains had back then. By modern widescreen HD standards, this is still pretty low budget compared to most shows that are being made now. I wonder how low the budget would have to get before people start complaining how they don't look like they're putting any effort into the production? Somehow I doubt the show's new fans have had this line of thought when watching episodes. It's not about money, it's about the process. It's the lack of care taken in making the show. It's about the lack of heart in the production and the workmanlike conveyor belt quality to the new show. It's about the bad editing in the theater with the riffs, because they're all recorded separately and spliced in later. It's about the low quality writing that has no discernible voice throughout the entire thing because it's written by different people every episode. It's about the rushed and low qualities host segments that could have used a few more takes but they couldn't because they were almost out of studio time with their actors, which actually would have benefited from MORE money. It's about that more thought was obviously put into hanging Gypsy from the ceiling than to actually giving her a voice and personality. It's about that more thought was given to thinking of fun ways to have robots fly and move around the theater than it was to give them anything funny to say. It isn't about the budget. It's about heart. Like mylungswereaching said, money is a symptom. They COULD do it for less money, non-union. Will that ever happen? Probably not. But if this is the monetary environment the show needs to be made in now, that makes it even more important to have an actual TEAM of full-time writers/performers to make the show and make it their own. Not this by-committee, one weekend a year thing that they've been doing. Because we, as the audience, need to connect to something beyond the base nostalgia of "wow! It's Tom and Crow!" (BTW, probably quite a few "potential talents" would LOVE the set-up BBI had. Total creative freedom on a full-time production? Writing AND performing credits? Carte Blanche to do essentially whatever you want? Create whatever you want? In New York and LA? That model doesn't fly. It didn't fly in the 90s, either. Anywhere else? What's to stop a talented, local group of people from putting on their own show?) A lot of this seems like you guys are taking your lack of enjoyment with aspects of the new episodes and just projecting onto the people who made it and the process involved with making their episodes. If the crew behind the Netflix episodes has imperfect editing, rushed host segments, and characters saying jokes made by multiple writers it's because they're a large uncreative committee. However if the people on the cable series did it, it's proof that the smaller committee has a lot of heart and charm on their side. Working on as many as 96 feature length episodes over the course of a four year period definitely didn't involve a workman like conveyer belt quality when they worked on the cable series. It's not that Rebecca Hanson's Gypsy has a different voice and personality that might appeal to some viewers who aren't you, it's that she no longer has a voice or personality at all. The Netflix series does have a small team of consistent writers, including the former head writer of The Daily Show back when that was still funny. I don't mind that the show has included contributing writers to the mix, especially since some of them included Bill, Mary Jo, and Paul. It's too bad they can't have them all consistently under the same roof and offer them long term security, but that's rarely a guarantee in the industry. Especially the gig economy we currently have to deal with. But maybe you're right. Maybe they should have had everything be more like the perfect setup BBI had. A setup that was so unquestionably ideal that several members of the team left before the SCI-FI cancellation and after production wrapped on the final SCI-FI episode they decided to go to the extra work of forming their own companies instead of going back and working things out with the owner of BBI.
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Post by Ford Prefect on Nov 18, 2019 18:37:17 GMT -5
"A bunch of individuals writing totally separately and then coming together" is pretty much how they used to do Cinematic Titanic and how they've been doing Rifftrax for over ten years. Even on the cable series they had home writers like Bridget who started out contributing to the episodes without sitting around and watching with other writers. "A bunch of people who are technically excellent but aren't creative" I gotta hand it to you, that's gotta be one of the most memorable backhanded compliments I've heard in a while. Even if I shared your apparent dislike for the Netflix era, I don't think I'd accuse them of lacking creativity. Of course the show was made by a committee. All shows like this are made by a committee. The cable series was just made my a smaller non-union committee that you've afforded a greater amount of affection towards. I actually like the Netflix show. I just think its missing something. In comedy timing is everything. A mediocre joke told well is better than a great joke told poorly. The Netflix versions seemed to be trying to jam as many jokes in as possible. The timing just felt off. They just felt like they were reading a script. It seemed like they didn't have time to do multiple run-throughs before filming. The version we saw felt like the first draft.I wouldn't be surprised that sometimes when Jonah was reading his lines it was the first or second time he had seen them. Both Rifftrax and Cinematic Titanic were written by people who had worked together as a team for years. Cinematic Titanic less so. But CT did the same movie over and over again. I would bet that if you asked anyone the shows got better over time. The first time they performed the show was almost like an advanced practice. The Rifftrax team has been working together for many years. They are all heavily involved in writing the script. I'm quite sure they do multiple run-throughs before taping the final version. Bill, Kevin and Mike all live in the same city. I'm not saying anything wrong when I say technically talented but not creative. A lighting person knows the many possible ways to light a shot and how to do it. They can be very creative about lighting. But they don't know how to write a comedy and no one expects them too. In order for the show to work, there needs to be a director who knows both the material and what to tell all the experts to do. The negative comparisons to the cable series I've read online generally come across to me as a little unbalanced sometimes. It's like the 20 Netflix episodes have to compete with people's best memories of the 176 episodes from the cable run. So far Jonah has had the chance to appear in less than a fourth of the number of episodes that Joel and Mike starred in. I hope he has the chance to appear in more because I think the potential is there for even better episodes in the future, wherever the show ends up.
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Post by mylungswereaching on Nov 18, 2019 18:40:45 GMT -5
It's not about money, it's about the process. It's the lack of care taken in making the show. It's about the lack of heart in the production and the workmanlike conveyor belt quality to the new show. It's about the bad editing in the theater with the riffs, because they're all recorded separately and spliced in later. It's about the low quality writing that has no discernible voice throughout the entire thing because it's written by different people every episode. It's about the rushed and low qualities host segments that could have used a few more takes but they couldn't because they were almost out of studio time with their actors, which actually would have benefited from MORE money. It's about that more thought was obviously put into hanging Gypsy from the ceiling than to actually giving her a voice and personality. It's about that more thought was given to thinking of fun ways to have robots fly and move around the theater than it was to give them anything funny to say. It isn't about the budget. It's about heart. Like mylungswereaching said, money is a symptom. They COULD do it for less money, non-union. Will that ever happen? Probably not. But if this is the monetary environment the show needs to be made in now, that makes it even more important to have an actual TEAM of full-time writers/performers to make the show and make it their own. Not this by-committee, one weekend a year thing that they've been doing. Because we, as the audience, need to connect to something beyond the base nostalgia of "wow! It's Tom and Crow!" (BTW, probably quite a few "potential talents" would LOVE the set-up BBI had. Total creative freedom on a full-time production? Writing AND performing credits? Carte Blanche to do essentially whatever you want? Create whatever you want? In New York and LA? That model doesn't fly. It didn't fly in the 90s, either. Anywhere else? What's to stop a talented, local group of people from putting on their own show?) A lot of this seems like you guys are taking your lack of enjoyment with aspects of the new episodes and just projecting onto the people who made it and the process involved with making their episodes. If the crew behind the Netflix episodes has imperfect editing, rushed host segments, and characters saying jokes made by multiple writers it's because they're a large uncreative committee. However if the people on the cable series did it, it's proof that the smaller committee has a lot of heart and charm on their side. Working on as many as 96 feature length episodes over the course of a four year period definitely didn't involve a workman like conveyer belt quality when they worked on the cable series. It's not that Rebecca Hanson's Gypsy has a different voice and personality that might appeal to some viewers who aren't you, it's that she no longer has a voice or personality at all. The Netflix series show does have a small team of consistent writers, including the former head writer of The Daily Show back when that was still funny. I don't mind that the show has included contributing writers to the mix, especially since some of them included Bill, Mary Jo, and Paul. It's too bad they can't have them all consistently under the same roof and offer them long term security, but that's rarely a guarantee in the industry. Especially the gig economy we currently have to deal with. But maybe you're right. Maybe they should have had everything be more like the perfect setup BBI had. A setup that was so unquestionably ideal that several members of the team left before the SCI-FI cancellation and after production wrapped on the final SCI-FI episode they decided to go to the extra work of forming their own companies instead of going back and working things out with the owner of BBI. The original MST3k had extra writers. That's not the problem. I don't have any problems with the Mads. They are professionals. Give them a script and time to study it and they can do a good job. It's in the theater where there is a problem to me. There are really 6 actors in the theater. 2 puppet masters, 2 puppet voices, one human and the movie. All 6 have to work together for it to work. They have to be a team. To me, the Netflix version had a lot of excellent writing and was very funny in spots. It just never felt like they were watching the movie and reacting to it. The comic timing was off. I think that every one involved in the show was very talented. IMO, it just felt like they were filming the first draft and never had time to do enough practice to get the timing right. It felt like there were 5 people who were all very talented but not a team. All the writers don't have to be under the same roof but it would be useful for more than one person to write the shooting script. But the performers in the theaters need to be able to practice together to make this work. Practice in front of a cheap camera for a while then spend the big money and film the final version. You can't fly them in and get it all right on the first take, which is what it felt like. Making the show bigger and fancier doesn't make it funnier. Spending lots of money to get the set look just perfect doesn't make it funnier.
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Post by Diet Kolos on Nov 18, 2019 18:50:44 GMT -5
No one ever said the original show was perfect. As much as you're trying in your smarmy way to paint myself and others as haters with rose-colored glasses that are just nostalgic, hypocritical boobs, the fact is that I, at least, am capable of some objective thought about what I enjoy and what I don't. And what I find funny and what don't. And what works and what doesn't. And I've listed those things out and their reasoning. And others have agreed and stated their own opinions on the new show's shortfalls. And unfortunately there isn't a very big pool of things to compare it against other than the original show. I'm so sorry that the process used to make a previously successful show seems like a good template to follow. On its own, as entertainment, this new show isn't very good. So one would stand to reason that maybe suggesting a production style similar to that old model might make a lackluster show better?
But even beyond that, you seem to take great offense to the idea that there are people who disagree with you and (heaven forbid!) find this new show less than ideal, particularly compared to a show that ran for more than a decade that we were all fans of already.
And if you have to resort to letting us all know that 'yes there were problems with that original show too!' (problems we're all aware of already, thanks), to somehow prove that this new lackluster product is just as bad as the original one (I guess?), then what's the point? I'm not quite sure what you're trying to get at.
So I'm misremembering the show that I re-watch all the time? THAT show was also bad and flawed and not-funny, too? Or that they're both equals in quality? Because I know when I objectively watch the new show versus the old show, I don't get the same amount of enjoyment. So I must just be wrong, right?
I feel like I'm being gas-lit by people in my own fandom.
"Oh you poor, nostalgic fool, that old show was actually poorly made, wouldn't work today, rarely funny and everyone that worked on it desperately wanted out. Now, please enjoy this actually GOOD show, because it's GOOD when compared to the old one and can totally stand on its own."
My final word on this is: I disagree with you. I don't believe I will ever agree with you on this. The new show isn't very good. The way they make it isn't very good. The talent isn't very good. The jokes aren't very good. It isn't very good. It isn't even good. Not because it isn't good compared to the original. It simply isn't. Remove the MST name and it fails at nearly every level as entertainment. I'm not alone on this, as you've seen. My opinion will not change on this. I'm done defending against this criticism because I find it in bad faith and disingenuous.
And that's all I have to say about that.
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Post by mylungswereaching on Nov 18, 2019 18:59:37 GMT -5
I actually like the Netflix show. I just think its missing something. In comedy timing is everything. A mediocre joke told well is better than a great joke told poorly. The Netflix versions seemed to be trying to jam as many jokes in as possible. The timing just felt off. They just felt like they were reading a script. It seemed like they didn't have time to do multiple run-throughs before filming. The version we saw felt like the first draft.I wouldn't be surprised that sometimes when Jonah was reading his lines it was the first or second time he had seen them. Both Rifftrax and Cinematic Titanic were written by people who had worked together as a team for years. Cinematic Titanic less so. But CT did the same movie over and over again. I would bet that if you asked anyone the shows got better over time. The first time they performed the show was almost like an advanced practice. The Rifftrax team has been working together for many years. They are all heavily involved in writing the script. I'm quite sure they do multiple run-throughs before taping the final version. Bill, Kevin and Mike all live in the same city. I'm not saying anything wrong when I say technically talented but not creative. A lighting person knows the many possible ways to light a shot and how to do it. They can be very creative about lighting. But they don't know how to write a comedy and no one expects them too. In order for the show to work, there needs to be a director who knows both the material and what to tell all the experts to do. The negative comparisons to the cable series I've read online generally come across to me as a little unbalanced sometimes. It's like the 20 Netflix episodes have to compete with people's best memories of the 176 episodes from the cable run. So far Jonah has had the chance to appear in less than a fourth of the number of episodes that Joel and Mike starred in. I hope he has the chance to appear in more because I think the potential is there for even better episodes in the future, wherever the show ends up. I agree completely with this. The talent is there. The show is good. It's just not as good as it could be. What it feels like to me is that Jonah and the rest of the theater crew see a movie and write a bunch of jokes and send them to the main writing team. The text back and forth on and off for a few months. Then they get the final script and a week later they all fly in. The get on a sound stage and record it line by line. Then leave a few days later to meet again in a few months. Jonah, Hampton, and Baron the script one line at a time. Record one line. Stop. Record one line. Stop. etc. They never feel like they are talking to each other. Then they get together with the bot team and film the theater segments and dub the dialog in later in one take. How can Jonah, Baron and Hampton get better when they never really work together as a team? Baron and Hampton don't even need to be there when they are actually filming the episode.
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Post by mylungswereaching on Nov 18, 2019 19:33:00 GMT -5
I really think that the new crew has talent. They're just not showing it.
According to Wikipedia, Jonah, Hampton and Baron recorded their dialog one... line... at...a...time.
I'd much rather see it run more like this. Write the first draft the same way. Then get Jonah, Hampton and Baron together for at least 2 days per episode. Have them practice together in the same room while watching the movie. Record in 5 or 10 minute segments, not one...line...at...a...time. Do the segments over and over and record them. Go back and look at the recordings and adjust them so they flow and feel like real conversation. Then go into a recording studio and record the dialog as dialog not as disconnected lines.
Do the rest the same way. If you can't get JHB together for the 3 or 4 weeks to do it right, find some young, hungry actors who will.
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Post by majorjoe23 on Nov 18, 2019 22:18:17 GMT -5
There’s weird incorrect info floating around in here, which feeds into some of the projection. Jonah, Baron and Hampton did record in the same room for season 12. There’s footage of it on the season 12 Blu Ray. THey recorded together in season 11 as well, but then they were in separate booths so that each line was recorded in isolation.
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Post by mylungswereaching on Nov 18, 2019 23:19:17 GMT -5
There’s weird incorrect info floating around in here, which feeds into some of the projection. Jonah, Baron and Hampton did record in the same room for season 12. There’s footage of it on the season 12 Blu Ray. THey recorded together in season 11 as well, but then they were in separate booths so that each line was recorded in isolation. I don't know how they recorded honestly. I can only go by what I've read. Here's what Wikapedia says (I know Wikapedia is a terrible source). "Recording and most of the production was completed over September and October 2016 in Los Angeles on a very condensed schedule.[70][71] In the revival, Ray, Yount, and Vaughn recorded the riffs for all fourteen episodes in a sound studio over a period of a week, allowing them to better synchronize the riffs with the film." and " All skits for the episodes were completed within a single day, which did not allow them for doing multiple takes unless necessary.[72]" This was for season 11. They recorded the voice for all 14 episodes in 5 days. That's 2.8 episodes a day. At 90 minutes an episode that's 4.2 hour of recording a day. Realistically allowing for setup time and lunch, etc. they could have at most 2 takes. From what I've read, they got the script together, showed it to the performers and then raced through the recordings mostly with one take. Very little practice time allowed. That's directly from the Ed Wood school of movie making. Even if they recorded in the same room, you're not going to get the right flow on the first take or two. That's a daily soap opera schedule and soaps were not noted for excellent scripts or acting although there were good actors in soaps.
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Post by BoB3K on Nov 19, 2019 0:27:12 GMT -5
"Recording and most of the production was completed over September and October 2016 in Los Angeles on a very condensed schedule.[70][71] In the revival, Ray, Yount, and Vaughn recorded the riffs for all fourteen episodes in a sound studio over a period of a week, allowing them to better synchronize the riffs with the film." and " All skits for the episodes were completed within a single day, which did not allow them for doing multiple takes unless necessary.[72]" Oh my god, are you F____ kidding me?! I'm shocked that season 11 had any good feel to it at all. That quote up there, if true, is EVERYTHING wrong with the new MST3K. Oh, and for the record, I like Season 11 quite a bit. I very much like many of the movie choices, and for the most part I like their 'sense' of humor--cheesy, fun, a slight edge occasionally--very similar to Season 3-5 MST3K. Honestly, if they had come up with the money to keep making this at the level they did for season 11, I would have been fine with it, although I would have never stopped complaining about needing more than 1 person per robot and for it to be written and shot together and in person, ep by ep. Have you guys ever read any of the behind the scenes of the original show? They would get to know (and hate) each movie as they wrote it week to week. Often times, things in the ep were things that just came out and built as the week went on, things that cracked them up and turned into running jokes they would be saying to each other through-out the week. And you can tell, it comes out in the performances. THAT is how you make a comedy that has lasting impression and goes down as classic. Incidentally, I DID drop out at Season 12. They changed the format, went all in on gimmicks and meta-promotion and the movie selections were mostly crap. Essentially, Joel 'sold out' to Netflix, like he kind of said he never would, and it bought him a whole 6 episode abomination of a season.
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Post by Troy's Dad on Nov 26, 2019 17:20:38 GMT -5
The Netflix era, has ended.
From Joel:
Endings & Beginnings As some of you might have guessed, we won't be making new seasons of the show for Netflix. However, I want you to know that we've had a wonderful time working with the Netflix team, and will always be grateful to them. After all, they gave us the opportunity to spend the past few years aboard the Satellite of Love, and made it possible for new generations to discover the joys of riffing cheesy movies with your friends.
I couldn't be more grateful or proud to our incredible cast and our wonderful crew for bringing this incarnation of the show to life, and hope that we'll get the chance to continue collaborating on MST3K as we enter our next chapter.
And, I'm pleased to confirm that The Return and The Gauntlet – along with a healthy selection of classic episodes – will continue to stream on Netflix, bringing some of the show's best episodes to cheesy movie lovers around the world.
Now, I know you might have questions about the future of Mystery Science Theater, but as you've seen over the last four years, we are just as dedicated to keeping MST3K alive as ever. And I want to remind you that there are still lots of options for us to explore in the years to come. This isn’t our first rodeo! So, while this might be the end of the first chapter of bringing back MST3K, don't worry: it's not the last chapter.
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Post by Diet Kolos on Nov 26, 2019 18:35:48 GMT -5
Translated from Joel-ese: Netflix has an exclusivity deal for the show for the next few years, and we can't make new seasons anywhere else until it expires, so I hope you like tours!
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