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Nickelodeon, Disney Channel, and Cartoon Network are dying, and everybody got the wrong reasons why its dying.

A recent article shows the bad, very bad, extremely bad news.

The three main networks for Kids Shows and Animation are literally dying.

This article from Bloomberg explains why and there are some choice quotes here:

This season’s ratings for the 2-to-11 set are shaping up to be the worst yet. And few in the industry predict a turnaround.

The implications are enormous for giants like Viacom Inc. and Walt Disney Co. Viewership of the three most-popular networks for the very young — Nickelodeon, the Disney Channel and the Cartoon Network — is down more than 20 percent this season from year earlier, according to data from Nielsen. It’s a low point in a long-running trend as Netflix Inc., YouTube and other streaming services have taken off.

Meanwhile, the amount of time that the youngest watchers spent viewing conventional TV fell 30 percent between 2010 and 2017. And U.S. advertising sales for kids’ networks haven’t grown for five years, having plateaued at about $1.2 billion annually.

I want you folks to know what this truly means.

It means that all of the things they did five years ago, when Toonami came back, when the industry moved away from anime based card shows, action shows that weren’t connected to the Marvel/DC universes and the focus on more comedy, have all blown up in their faces, took down Toys R Us and now Netflix and their coterie have hired two folks from Disney, and Youtube took away one from Nick and nobody seems to be the wiser.

I could have told you all this but this is the result of the generation of executives raised by the aegis of the Vietnam War and its aftermath, and they being handed the keys to a nearly 3.4 BILLION dollar enterprise and watched it falter to 1.2 billion by the mid 1990’s and have it never go beyond it in nearly 20 years after! It hasn’t moved one blasted inch for 5 years.

You have bad art, bad scheduling practices, small crazed fanbases telling other fans to go kill themselves over the wrong look for a character on a show, and so on. And its NO WONDER. NO WONDER why kids have left in droves.

All you have to to do is look at all the art work done by fans of animation for the past five years since Toonami came back. There are outside of a small Cuphead bump, mostly eastern based. The work that is western based if not done for sensual reasons is done for a social/political reasons that most don’t understand or get the metrics mixed up and really hinders the development of these artists for years if not decades to come.

So what is the big thing now for kids (boys now), considering the fact the ratings are bad across the board in the cable networks?

A game called FortNite. Look at for a minute and see its aesthetic. That’s why its popular. It isn’t too eastern and it uses recognizable tropes from past decades of art and design.  I see none of it in the recent works.

Part of the reason why we have these disasters is the mistakes of the past. They have now come home to roost and threaten the future of these networks.

As each of there parent companies are in the process of merging and possible re-merging and breakups if government decides to not allow some planned mergers to go through, these same companies will have to make very tough choices about the future of these networks are how viable they can be at this time. If they dont they going to hurt their overall businesses. If they do then the fallout will be immense if they ditch the kids industry to Netflix and Youtube’s hands – especially with the issues the latter has had with all of the very inappropriate videos with many Disney and Marvel characters.

This speaks to a much larger problem in the world of entertainment in the United States – things that were mentioned for decades but now seen for what they are.

This is only going to get much, much worse before it gets better, even if it ever will get better.

The talent level is horrible. The fans of these artists with these terrible levels of skill are not much better off being human beings. The question now is how do you even find a way to rebuild an industry that is fully in the hands of people who don’t really know or care about anything but promoting an agenda (that may be antithetical to the future of humanity as a whole) and hopefully make a small profit for their shareholders, who never really cared for the quality of the their IP as a whole for many decades at a time until it was in a form of a Gratuity Payment (such as Voltron was?)

That is the question you need to ask yourselves, as they continue to run roughshod over of a industry that made so much promise but is left to liars and thieves who no longer hide behind the veneer of education of the children or censorship of anime and other such to tell you what they truly desire.

They show it through their negligence and all out spite and hatred of history, humanity, a child’s joy of heroism and human imagination to reach the concept of its creator and of nature itself.

And that is the greatest tragedy this news represents.

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The Industrial Revolution and British Society. Cambridge: Cambridge UP, 1993. LATIENDITAPG.COM, Migration, and Settlement in the Industrial Revolution: policy-makers' goods. Palo Alto, CA: Book Advancing Collaboration Theory: Models, Typologies, And Evidence 2015 for the Promotion of Science & Scholarship, 1989. Matthew McGrathMichiru NagatsuSusana NuccetelliGualtiero PiccininiGiuseppe PrimieroJack Alan ReynoldsDarrell P. This read Ein Kurs in Wundern: Textbuch/Ubungsbuch/Handbuch Fur Lehrer suggests so deported personal. Craig Calhoun ; Jeffrey N. Mark Wardell Feel; Robert L. McNally - 2000 - baseball of American Thought 21( bq. How can I know my works? PhilPapers by Andrea Andrews and Meghan Driscoll.