#Cable tv

[relaxedstyles]

[carbon-fiber-internal-organs]

[acosmicvoyager]

[humanoidhistory]

Archer County News, December 18, 1980.

[atomic-chronoscaph]

1-900-346-Date (1991)

[moraviablogs]

Stop pitching shows to streaming networks and go back to pitching them on cable television???

[stone-cold-groove]

1970s era Next Week on HBO promo.

[irememberhope]

I use ESPN on cable to watch F1 and I have just realized because Disney and my provider are having a tantrum I am unable to watch the race next weekend. 🙃 I might cry. Because million/billion dollar companies want more money I'm going to miss watching the races!!

[haznet04]

I spent half an hour compiling times AoStH aired on different channels. Enjoy!!

Note: All of these are on Weekdays.

- 7:30 AM (KABB, San Antonio, TX)

- 6:30 AM (WSBK, Boston, MA)

- 3:00 PM (WPGH, Pittsburgh, PA)

- 6:00 AM (Fox 56 Kids Club)

- 6:30 AM (Fox 25 Kids Club)

- 9:00 AM (Toon Disney)

- 8:00 AM (WXLV, Winston-Salem, NC)

- 4:20 PM (Mangas, France)

- 7:00 AM (SpaceToon Plus, Indonesia)

- 8:00 AM (FBS, Philippines)

- 7:00 AM (SpaceToon, Unknown Area)

- 7:30 AM (WPIX, Bronx, NY)

[peeps-brainrot]

Vry random thing but today while searching something to watch on cable tv I saw a channel streaming rogue one and I'm genuinely so happy cus I changed the channel exactly when the R2 and 3po cameo happened

I <3 these 2

[monkey-network]

The Disposable Era of Cartoons

There exists many cartoons in the world that a vast majority never really bring up, and that's okay. Not everyone can watch everything all the time and you can argue that we only scratch the surface since the beginning. I've always had this deep seeded thought however of how animation's been treated, notably of tv shows. Browsing my usual "streaming" sites, I often come upon a show I've never heard of before. One just recently was Zokie of Planet Ruby, a series made by Nelvana, hosted by Nickelodeon, with its entire first season dropped on Amazon Prime on the last day of 2023. Overall, it's not a show I'm interested in, but how it was just dumped onto streaming upon other factors like that got deep seeded thought resurfacing into a theory. A theory regarding the potential era where excess is reaching its apex.

Animated TV shows I say are more arduous to make than films. Not to say films are more effortless to produce, god no, but have better limits given you'll have a set script and runtime to work off of as opposed to having to constantly produce multiple at a time for episodes ranging from 7 to 22 minutes. We work on a timeline where it's hard to believe any new story isn't derivative of already told stories, but the beauty does come in how we're able to transform them with new purposes and concepts. The workload however can be a lot many recognize but don't grasp themselves only as outsiders. The pitch getting greenlit is just the big toe in the door, finally stepping in is a matter of juggling multiple episodes a day, revising and editing, deliveries to the animators, all for the hope that it gets back in time to air. This is where I've come to appreciate The Simpsons, good and bad. Regardless of a recent season's quality, it's undoubtedly difficult to schedule fresh ideas that can stick with the same concepts for 30+ years, all to meet the quota by the beginning of the autumn season. Things have shifted thanks to streaming.

In retrospect, what felt like a novel idea was inevitably gonna turn into a capitalistic nightmare. It makes some sense that Netflix wouldn't have a monopoly on hosting every show from cable TV to be put on their newly founded streaming site in 2007. It wouldn't have been long before every other studio threw their hat in, developing their own stream sites with the properties they made and owned themselves. Competition is natural, but now you're basically spending the same prices as cable or satellite if you wanted to watch every show you remembered seeing on TV. Sites like Tubi and PlutoTV I say are the saving graces where you can shockingly find a ton of film/shows old and new for free, but you've probably seen shows and films getting removed from the sites they originate from, either to be traded to another site or written off for good because investment returns weren't a shake 'n bake. All this is because of rights ownership and a complex web of cost cutting against the people behind said shows and films. What does this mean for cartoons, though?

Like TV shows, you're gonna have a few poster boys upon a ton of shows nobody beyond avid seekers are gonna bother remembering. This has been a trend long in the making, but while many shows can be greenlit and made it can be a crapshoot as to whether the company actually believes in that show enough to market it. For Nickelodeon, it's an open secret that any cartoon not an instant hit like Spongebob, despite little promotion from the company, would be chucked onto the Nicktoons network to run out their remaining episodes. With streaming however, you'd either get something like Zokie of Planet Ruby where everything's dumped without warning or Glitch Techs where it's stuck in development limbo with half its episodes un-aired or incomplete. This isn't just with Nick however. Disney and Cartoon Network has had its fair share of duds everyone's slept on if they weren't massively eyecatching regardless of quality. The fates of their existence is dependent on who's keeping an eye on the companies. This isn't to say shows like Infinity Train and Final Space, which got removed digitally back in October and December respectively, didn't have their supporters who expressed outrage. It's to say other shows couldn't get that level of reported support, and I feel it's only going to get worse.

This is what I believe amounts to the theoretical "Disposable Era" of television, where we aren't just having companies dispose shows but create shows that are purposefully disposable. For websites designed to stream cyclically endless content, this will mean an exponential ton of commissioned projects for cheap that anyone will pick up once, never watch again, and can be written off immediately after a small period because no one outside the crew responsible would notice, incapable of viewing unless someone miraculously torrents everything. While I've brought up TV in general as opposed to just animated stuff, I personally feel the efforts and imaginative possibilities of animation count more for the generations that grow up with them as much as the influences they can have on artists. And I can feel it's discouraging for creators to know that their work can be eventually assembly lined, worst than reality tv, and then erased for tax breaks because nobody thought about them for more than the weekend they binged it all.

This is all if you don't account for anime studios like MAPPA which are a whole other horrifying story

I say "theoretical" because we aren't that far to where it could be possible. Shows do take time to make, and even if companies are pushing AI it's barely able to be anything more than an asset for certain cases. People have their reasonable fears, but an animated show fully AI generated that lasts more than 2 7-minute episodes, at this point in time, is a wet dream from investors. AI will not easily replace the craft, but the craft will be abused year after year with of how many shows get greenlit, made within a couple years, only to be thrown out when the numbers don't appease. This doesn't mean we won't get quality gems, but the rough they come from will pile more and more, and the gems some find that the majority will ignore will be written off and vaulted. I say the inception behind my theory wasn't exactly from the recent stuff like David Zaslav or Paramount's haphazard treatment of their content, it goes a little further back.

Hanazuki: Full of Treasures wasn't a huge series back in 2017, but it was one I enjoyed a lot when it was premiering on Youtube at the time. After its first season finished, Hasbro would produce a theatrical short to coincide with the My Little Pony movie in October. This is where I felt things fell apart. While the film was a commercial success, the short was basically overshadowed and I can't help imagine was what affected the series by the time it got a season two. 2019 was where Hanazuki not only got its broadcast season cut, Hasbro would basically start erasing its existence while supposedly having in development limbo since. While it was all thankfully reuploaded, you wouldn't have been remiss to know Hasbro couldn't even allow it to stay on Youtube after its TV broadcasting.

Everything surrounding rights ownership and royalties has basically developed an endless turmoil of how shows and their crew are treated. I don't blame anyone for not discussing or mentioning everything that gets to exist. Variety is never a bad thing, and sometimes people want certain things because again not everyone thinks or enjoys stuff homogeneously. It's just always increasingly bothered me that so much can get pumped out to be either taken away or left there for people to stumble across. TV's become Youtube but more business heavy where creativity is a tightrope of whether their appeal gets to live for more than a week or not. Like Youtube though, can also be lost to time to no one looking back. Let's just say David Zaslav running WB is only considered the worst because he's become the biggest face of an open secret. He could very well be the beginning of a shift that could lead us into the Disposable Era, and it's anyone guess of how bad it could get.

With all this said, I don't believe preventative hope can't exist, especially without the effort. Piracy is already doing enough for preservation and availability, even if you gotta have adblock to watch them properly. More creators I feel should learn and process the rights they can have with their properties. If there's anything I learned from artists Bill Watterson and Making Fiends' creator Amy Winfrey, is that production syndicates will abuse their knowledge of the law to do as they see fit, especially when it comes down to what you're offering them. The eventual animators and VFX work strikes could provide something more stable, but that's all in due time. How much the average audience member can retain or hyperfixate on is not something to concern, rather that it happens at all. The best solution is finding a middle ground between the disposable and sentimental; more people being vocal about good stuff they found no matter how small. There can be pushback from online lethargic asshats, but it's far better than complaining about the multitude of reboots or how woke everything's become. Something is only as disposable as nobody proclaims otherwise.

but that's all just a theory.

[transpondster]

[doesnotloveyou]

in the 80s, my grandpa would always watch the weather channel on cable first thing in the morning so he'd know what kind of weather he'd be working in that day. but sometimes the weather channel was not in the lineup. it drove him nuts having to constantly reprogram it to appear

and every night while he was asleep, my night owl mom would stay up late doing homework or art projects and she'd channel surf. sometimes while flipping through channels, she'd land on a completely uncensored porn channel and hastily click away before deprogramming that channel

since my mom and her dad didn't talk to each other, this went on for an indefinite amount of time because unfortunately for both of them, after midnight the weather channel played pornos

[nobrashfestivity]

Siemens Netherlands developed a cable system by which 30 channels can be transmitted through one cable, March 20, 1981, KABELTELEVISION, The Netherlands, 20th century press agency photo

[classycookiexo]

I heard it could be different depending on what type of Cable you had and the area and you lived in but for me personally, it def wasn’t 36

Disney- 25

Nickelodeon- 37

ABC Family- 35

Cartoon Network- 26

Bet- 33

PBS kids- 8

VH1-32

MTV-34

The fact that I can still remember is insane 💀💀💀