What parts of the show were “owned” by Netflix, which forced changes? I heard it “owned” the countdown doors, but does that include the hairbones and maybe the Boneheads (we must keep them)?
That is a rumor. Joel explained the changes at the end of the livestream. New Door Sequence for thematic unity by same artist who designed everything else, and COVID restrictions made having 100-200 people on set impossible.
Check this post:
So what’s the full rundown of what Netflix is gripping onto?
I believe they insisted on keeping the Boneheads because they needed some new decision makers.
Kind of figured that. Maybe outside of being the house band, they didn’t have a place in things.
I would like to see a Gizmonic official approving of the experiment as long as it’s a couple of extra work days a month for Emily and Jonah…and eventually getting Kinga into the theater,
Oh, and I just found out Growler and Waverly aren’t owned by Netflix. WHEW! They’re comin’
I’ll never subscribe to Netflix again. They f with one of us they f with all of us.
The second that it became known that Netflix canceled MST3K, I canceled my Netflix account and indicated the show’s cancellation as my reason on that “why are you leaving Netflix?” screen.
I never regretted that.
Netflix is going to stooge themselves out of business with their shady antics.
This is my fault, for using the wrong term. Netflix doesn’t own anything except some exclusivity on the footage. So we weren’t allowed to reuse footage from the Netflix seasons.
But as I’ve said in other posts, I think it may have been a blessing. The Netflix doorway sequence would have jarring, juxtaposed against the current Flatimation aesthetic of the show. So we chose to make a new sequence. But also, we had to.
That’s pretty rude. Hey, we’re not going to buy any more of these but you can’t make any more either.
Getting a show produced in the studio system is essentially selling a bit of one’s soul.
It’s extra odd because the kickstarter paid for it originally.
Not a complaint, but what is the rationale for the smaller silhouettes in the theater? Just showing the bigger scale of the KingaDome?
They’re likely to go extinct no matter what they do. Streaming service fragmentation has left them with so little content that they have to make (or import) a lot of their programming, and as a consequence much of it is pretty dire. I’ll probably drop them before long, as too often I fire it up to find something new to watch, and there’s bupkis.
Actually, it’s more possible the exact opposite will happen. Most of these individual network streaming sites will not last. They are too expensive and don’t have the sustainable amount of content to keep people paying for them. I fully expect the streaming sites will consolidate down to three or four total. (NetFlix. Disney, Amazon, and maybe one or two outlier independents).
That will last until the next time production companies think they are losing money by signing deals with the Disneys and Amazons, and think they can do it better. Then the whole thing starts over again.
I think a third outcome is most likely, which is that the whole ecosystem will change and a new model will emerge. I do believe the narrow streaming services like Paramount are not long for this world, but corporate entropy rarely runs in reverse and it’s unlikely that Netflix will reconstitute as a major force once again. I think there is an embryonic future service coalescing out there, slouching towards Bethlehem to be born.
I’m pretty sure I’ve read that Joel always preferred the smaller seats. (Found his reasoning here: Bring Back MYSTERY SCIENCE THEATER 3000 by Joel Hodgson » Some Notes on the "Lost" KTMA Episodes — Kickstarter)
With the show now fully in widescreen, I don’t mind myself. The traditional size would look way too big.