#history of tv

[ineedahugtm]

Hello! This was into response about someone complaining about Hazbin Hotels (admittedly) pretty bad pacing so strap in for 8 paragraphs outlining the history of television and how Hazbin hotel’s terrible pacing fits into this.

So here’s a little (unneeded but still fun) history of television. So as we transitioned from the Radio Era a full season was 39 weeks (3 quarters of a year) and was preformed live, during the rest of the year that time slot would be designated for replacement shows because show hosts have to vacation at some point in their lives.

Anyways due to primitive recording techniques making reruns virtually impossible, the industry standard of replacement shows continued into television. Although finally by mid-fifties reruns were more possible and commonplace. From this point on the number of episodes began to decline, by the late 60’s the 46 episode standard season became 26 instead. (1ep per week is half the year meaning reruns for the other half so that every show could be repeated once a lot easier than the longer seasons of the past )

Essentially broadcast networks wanted more bang for their buck

Then came the miniseries format in the 70’s. Usually about 13 episodes telling stories week to week that were self contained (Think Phineas and Ferb, the episodes have no impact on each other) Also 13 is half of what a normal season was so networks would use this if a project was on the edge of cancellation.

Also in the 70’s networks would cancel shows mid year (now it’s after the November sweeps) so they’d order shows in 12 episode groups and if the ratings weren’t good enough a new one would replace it in January.

By the 90’s it kept getting shorter ordering shows in either 8, 16, or 24 episode seasons. For almost all new shows that a network isn’t sure about they give 8 episodes to test out the waters and see how fans react and that’s what I believe Amazon Prime did for Hazbin Hotel.

And so after an entire history lesson of television, let’s talk about Hazbin Hotel.

So let’s get one thing straight, yeah the pacing of HH is not great and definitely could be improved upon. From what it looks like, we’re supposedly watching a show that has a time span of about 6 months in between 8 episodes which gives no time to develop almost anything but plot relevant to the extermination. However like I just spent the past 4 paragraphs leading up to, season’s episodes are only getting shorter and shorter, not to mention that it’s up to the networks to tell the show how many episodes it’s going to be getting. So with 8 episodes to tell decades worth of planning a world out for Hazbin Hotel I’m sure that’s a little hard, especially with all of the characters that we love and want screen time for (remember how everyone was mad at Encanto for the pacing as well? The plot was there but the movie was too short for the amount of characters and stories that they wanted to tell)

Additionally it’s been said that the team didn’t know that the show was getting a second season until half way through production (I don’t have any sources to back this one up but I’ve heard it going around a few places) so it seems like this season was planned like it was the only season we would be getting which would explain why everything is so fast paced.

Hopefully with that second season (and maybe more) they will feel more fluid and organic but for now we need to understand that this is just the first season and that the rough start shouldn’t be entirely on the blame of the show itself. If your mad about something sure, I’m down to put the blame on those responsible- but I think instead of being mad at the show, or saying “I’m disappointed in the show” we should shift the blame onto the networks who put such small episode constraints on not just Hazbin hotel- but all new shows! Sure if you have a well thought out story that you can tell in 8 episodes then that’s great! But too many shows are forced to rush through their plot because of greedy networks enforcing restraints on the creativity of the shows their hosting

[motsimages]

I really enjoyed watchin Star Trek TOS because of the tv history, even more so than because of the plots or the characters. And watching it with my boyfriend, who used to work on tv and knows better than anyone how it used to be and how it is made it extra interesting.

I have commented about how the lighting and the music play along the characters and support their emotions and endevours. I have not mentioned how they often say the same thing that is happening on screen. They may look out a window and see something strange approaching them and say out loud "look at this window! There is a weird shape coming to us!". And the music sounds intriguing and the lights darken. It all comes from radio, and I could spot that much.

In radio you have to describe what is happening, and the acting and the music help drive the story in a non-visual way. Which is exactly what happens in scenes like that.

But Boyfriend pointed out that TVs at the time, the machine itself, was small and the quality wasn't very good. Plus, you would watch it surrounded by people. Maybe in the US every family had a TV but in Spain at that time, only some families had one TV and all the kids of the building or the neighbourhood would come and watch the show they liked. Watching tv like this, in a dark room, in a small TV, with lots of people who may comment or move, means that many details are lost to the viewers. So you help them: you state out loud what is happening while showing it.

And if Star Trek was a housewife series, it also works like this. Those women probably couldn't really sit a whole episode, maybe their kids came and go, maybe they were preparing food or ironing or doing some other chores, you need the extra help of a voice, and the music and the colours, and the light so you don't really miss much.

Boyfriend also pointed out that, at the time, TV and cinema were different experiences. TV was conceived to have interruptions. There would be ads, yes, but also, there would be noise and movement in the viewer's house. As I mentioned, family members that come and go, food that is burning, a postman delivering something. And people were not so used to consume audiovisual things. Radio? Yes. Video+audio? Not really. So you help them, with all the tools you have and the mechanics they are familiar with (radio).

And that is one of the things I enjoyed more of TOS, seeing all these devices working. Seeing how they basically took the viewers hand and showed them around the plot, step by step, because they know people weren't used to that, because the quality of a domestic TV wasn't good enough for many details, because life comes in the way of tv. And it was captivating, it was simple but so well done that you just can't stop watching, that you are intrigued and want to know more, even now, that we all watch series and movies and documentaries and interviews and whatnot.

[othervee]

Partner and I have a big TV collection that spans decades. 1950s right up until now. We still watch it! We still love it! We are in the middle of an epic rewatch of everything in chronological order RIGHT NOW and the number of great shows I have rediscovered the pleasure of is astonishing. Reliving laughs and gasps and loves and fandoms. It's great. I still reread fanfic that is 15 or more years old. It was good then, it's still good now!

Your show is only gone IF YOU LET IT GO.

Not to out myself as someone that’s been on tumblr for too long, but I’m so sad to see this new trend of people saying “I like this thing, even though the show isn’t airing anymore.” Like? That���s how things work! Keep enjoying them! Art doesn’t just vanish when it’s not airing, and it wasn’t made to be exclusively viewed live! 10+ years ago, the idea of saying “Ah, I’m still here in this fandom 2 years after the show was cancelled 😳” would have been BONKERS!

All these kids saying “It’s so sad the shows gone,” no it’s not!!! I saw your fanart yesterday! Last week you told me about my favorite character’s music playlist!!! I saw them running around in your AMV!

Where’s the longevity?? It was made for you!!! Not TV!!! It was made for keeps!!! Keep it!!! Please!!! That’s how art stays alive!!!

[gaykarstaagforever]

In 1959, Betty White was your age.

If you're like me this will really mess with your head: it's early color 2" video tape. So the aesthetics and production scream black and white film, but the colors and framerate look like something from ten or more years later (by the late 1960s, the major networks were doing nearly all their shows in color; but only about 15% of US television owners had color TVs, and a lot of network affiliates refused to upgrade equipment to air in color when they knew hardly anyone in their market could watch it).

So in actual fact, most people in America wouldn't experience broadcast quality like this until the early 70s. But here it is, during the Eisenhower administration (he was in fact the first president to be shown on TV in color, like the year before this).

[kermitspussy]

like where did it come from i was literally doing a silly little art and craft

[noodles-and-tea]

Back at it with my enchanted merthur shenanigans

[daily-spooky]

These are called Witches Stairs. Allegedly, witches can't climb up them.

You will occasionally find them in very, very old New England homes.

[aethersea]

I do think Blazing Saddles handled its one depiction of native americans very poorly, and the full extent of its representation of chinese workers on the railroad is they were literally just there. not even one single speaking line. unclear if this is worse or better than the redface.

it's fucking phenomenal at lampooning antiblack racism though. extremely blatant, extremely funny satire, which is constantly and loudly saying "racism is the philosophy of the terminally stupid at best and morally depraved at worst, and we should all be pointing and laughing at them 24/7"

plus the main character is a heroic black man who has to navigate a whole lot of bullshit but is constantly smirking at the extraordinarily stupid racists and inviting the audience into the joke. the one heroic white character is a guy who was suicidally depressed until he met the protagonist and they just instantly became buds, and he's firmly in a supporting role the whole time and happy to be there. the protagonist saves the day with the help of his black friends from the railroad, and uses the position of power he was given to uplift not only those friends, but all the railroad workers of other minorities too, in an explicit show of solidarity.

anyone saying "Blazing Saddles is racist" had better be talking about its treatment of non-black minorities. it had better not be such superficial takes as "oh but they say the n-word all the time" or "they have nazis and the kkk in there!" because goddamn if that's the full extent of your critique I very seriously suggest you read up on media analysis. there is too much going over your head, you need to learn to recognize satire.

[emolionsrawr]

gerrard: buckley, what in the devils name are you doing?

buck, with a clipboard in hand: well, gerrard, i was going over everything in the firehouse and i noticed some things

gerrard: what is it buckley?

buck: well, you sir are in violation of the sexual orientation, gender identity or gender expression discrimination act, over the past week i've noticed you refer to henretta wilson with slurs, very offensive slurs, as well as myself, due to this myself and mrs wilson have made note of each time you've done this, and reported it to our head HR representative, this here *hands gerrard a piece of paper* is a letter from the chief, requesting your presence for a meeting about your retirement

gerrard: you fucking fa-

bobby: i'd be careful if i was you gerrard, and get out of MY firehouse

gerrard: *screws up the paper and leaves*

chimney: see i told you all we needed to do was set clipboard buck on his ass

hen: look i know i'm a lesbian, but buck has never looked so good before

buck: i am the defender of lesbians!!

[avaisdramatic]

Putting this comment on here because I feel like I’m actually going insane…

It seems like nobody in the comments even watched the video, complaining about how paying for content is difficult in this economy, like, that's why they are doing this! They cannot continue to make the content they want for free based on ads and sponsors alone. If you have paid attention to the "Making Watcher"s of recent years, their company is not, and has not been profitable. They are so dependent on advertisers for funding that it is becoming a restriction to the content they want to make (y'a know, like Buzzfeed was), so they had to find a solution. I don't know why you all seem to think you are entitled to free content, I understand not everyone can afford it but Watcher doesn't owe you content personally. Frankly, I doubt they wanted to put their content behind a paywall, but if it's that or not make content at all, of course they are going to try to find a solution. So no, they aren't "turning into Buzzfeed” because the massive problem with Buzzfeed was its restrictions on creative freedom and exploitation of its workers. If Watcher wants to produce fulfilling content that gives their editors, designers, producers, etc full creative freedom and a livable wage, this is the best option. If you want them to pay their workers the bare minimum and tailor their content to advertiser interests just so you can watch it for free, that's fine. Just don't pretend that they are some evil media mega-corporation and you are the anti-capitalist shining hero for saying it. You don't have to like it, and you don't have to continue to support them, but don't try to shame and demonize them for making an already difficult decision.

Many of you DO have an understanding of the difficult position our current economic system puts people in because you have experienced it, but you are so unable to extend that understanding beyond your own point of view. Look past yourself for a moment and think critically, and maybe you will understand their perspective. Much love for all of the talented people within Watcher who are doing their best.

And just to add, their format going forward is almost IDENTICAL to CollegeHumor-Dropout's streaming service format (even down to the free premieres and advocating for sharing accounts with friends), which most people praise to high heaven as "the only ethical streaming service." As a huge fan of both companies the stark difference in response here is actually astounding...

[hopeymchope]

No hardcore fandom has ever died so quickly and so completely as Veronica Mars. This is the story of its murder.

They should study Veronica Mars in Hollywood. I'm serious. It's an incredible story of how to go from "loud, passionate fanbase with its own fandom name that campaigns and advocates constantly for it" to "absolutely zero fucking interest" damn near OVERNIGHT with just ONE epically terri-bad decision.

If you weren't there, you don't understand: From 2007 to 2014, the fandom — the "Marshmallows," as they called themselves — were everywhere in the Internet's geek spaces, my friends. They routinely beat the drum about the series' three seasons and its excellence, lamented its cancellation, pushed others to give the show a try, and always - ALWAYS - proudly and loudly called for the series to be revived.

FULL DISCLOSURE/CONFESSION: I've not even watched that much Veronica Mars, frankly... ? Yeah, I'm sorry! it does seem pretty good from like the four-or-five hours I've experienced firsthand. I just never took the time to sit down with it. Regardless, I find fandoms and their dynamics — both how they operate internally and how they display to others externally — deeply fascinating. And I honestly find them easier to study from the outside than the inside. Like, if I'm IN a fandom, I'm more likely to stay in my corner and ignore places that seem negative. But being on the outside lets me just... absorb what's out there, looking into every forum without judgment. It's like studying pop-culture sociology or something? And it helps that I'm very close to some serious(-ly burnt) Marshmallows. It makes it so much easier to find and absorb the gamut of the fandom.

Besides: There is NO fandom story I've ever seen that's anything like what happened to Veronica Mars and the Marshmallows.

(Time to insert a brief explainer for the uninitiated: Veronica Mars was a TV series that aired from 2004-2007 on the now-deceased UPN network wherein Kristen Bell played the titular character, a high school girl whose single dad was a private detective in the fictional community of Neptune, California. She grew up working "unofficially" as his assistant, which meant that she herself was effectively a teenage private detective.

The three core elements of the series were: 1) Veronica investigating each week's big mystery with plenty of quips and snark, 2) Watching Veronica's various relationships develop and shift, with most of the focus given to a) her relationship to her father and b) Her romantic pursuits (which began as the Veronica/Duncan/Logan triangle before eventually becoming focused on the slow-burn, off-on Veronica/Logan love story), and 3) The gradual development of that season's "mytharc" — the overarching BIG MYSTERY that doesn't get resolved or wrapped until the season finale. So it went over the course of two seasons that took place in high school and the third, shorter season that was at the start of Veronica's collegiate career.)

Just how big and how passionate were the Marshmallows? WELL! When series creator Rob Thomas (not the Matchbox 20 guy) and star Kristen Bell announced the Kickstarter campaign for the Veronica Mars movie in March 2013, it achieved its heretofore-unprecedented goal of TWO MILLION GODDAMN DOLLARS within less than 12 hours. At that time, it was the biggest Kickstarter goal to ever succeed — and certainly the fastest to reach that kind of height. Fans fell OVER themselves to pay out for it. Hell, my own significant other was DEEP in the tank for VM at the time and invested enough to get multiple t-shirts as backer rewards as well as a disk copy of the movie when it eventually came home.

And AFTER the movie hit in 2014? It was thankfully beloved and embraced! The once-teenage characters were adults who were actually out living on their own and working for a living, but the fandom had grown up with them, so it wasn't like they were begging for them to stay young students. They embraced Adult Veronica and her new adventure. The fandom rejoiced loudly and continued to be all over the geek side of the Internet... where they, of course, still wanted more. Sure, there were new novels in the aftermath (which were written by the creator of the series), but most of the Marshmallows were calling for more movies or a streaming revival.

And then, at long last... season four was actually announced. And there was much (premature) rejoicing yet again.

Yes, Veronica Mars returned for a fourth season on Hulu in 2019. It was just eight episodes, and it was heavily centered on one season-long mystery instead of sprinkling that amongst a bunch of smaller ones, but it would still feature the same ol' Veronica. They promised a new, more "adult" mystery/investigation plus a strong focus on Veronica and Logan's love story.

New Hulu purchased the rights to the first three seasons and hyped up its presence on the platform while marketing the return for the new run. The marketing team played up the most popular quips from the show's history plus put out TONS of stuff centered on the Logan/Veronica ship to pump up the fans.

The season was dropped all at once using the classic Netflix "binge" model in July 2019. And then... afterwards?

There was a brief explosion of LOUD RAGE from the Marshmallows at what series creator Rob Thomas had to done to burn and spite the fandom and ruin his own goodwill.

SPOILERS FOR SEASON 4: See, at the end of the movie, Veronica and Logan finally entered into a long-term relationship. In season four, they've been dating for years, and Logan proposes marriage. But of course there has to be drama/obstacles: In this case, Veronica isn't sure she's ready to marry... or capable of being in a marriage. Ah, but of course she eventually realizes how much Logan means to her. The two are married, and, in the season finale... Logan is killed by a car bomb in the penultimate scene. The final scene is a flashfoward to a year later, where Veronica leaves Neptune alone.

For most fandoms, that'd be a memorable point of pain. A big ol' speed bump that ultimately throws some people off the bus, leaving only the die-hards. But the fact that fans had been invested in this relationship for literally 15 years and that Hulu (and creator Rob Thomas) had heavily marketed the new season as being a big romantic event for the ship... it was too much. Unlike the aftermath of the Star Wars sequels, there was no lingering group of die-hard fans who were open to whatever was next — at least no significant one. I did some Googling and could only find TWO people who still wanted another season.

Funnily enough? Critics LOVED this. Hell, Vanity Fair infamously penned an editorial about how Veronica Mars had "finally grown up" with this finale. I suppose all the other murders and deaths and drug overdoses and r*pe weren't "mature" enough before now for... some... reason. (The same editorial also featured the author openly hating on Veronica ever being in a relationship because it causes "arrested development" and declaring that the movie -- which was acclaimed by both critics AND fans alike, I remind you -- was a lame dud. So. The writer must be a reeeaaaal fun person.)

But a series doesn't live based on critical acclaim, as it turns out. The fandom was murdered overnight. "Marshmallows" stopped appearing in geek spaces online entirely. No one expressed interest in seeing the next season or the next movie. The constant flow of fan AMVs on YouTube and fanfics on AO3 dried up to nothing or damn nearly so.

Since 2019 ? Nothing. Chirping crickets. An intensely dedicated fandom of 12 years was just... vaporized.

I've never seen anything like it before OR since.

That's why it's so fucking fascinating.

So what went wrong?

Creator Rob Thomas was adamant about two things: ONE, the series was intended to be a noir show, which meant there couldn't be any happiness for its protagonist. And TWO, the death of Logan was necessary to evolve and grow the series.

Thomas thought that having Veronica in a relationship would be holding her back, and that a marriage would absolutely kill the series and leave her stagnant. It never even occurred to him that marriage isn't the end of a character's life and growth. It never occurred to him that plenty of drama can be had AFTER someone is married, or that development/growth could be that the characters mature enough to be capable of maintaining a committed relationship. Thomas' view of his own universe was so myopic that he couldn't conceive of any possible way that Veronica could still be a private detective involved in life-threatening investigations AND be married at the same time. Futhermore, he felt that fans just wanted Veronica to become a pregnant housewife, which is about as far from what Marshmallows were after as you can get without straight-up killing Veronica and/or Logan. He managed to do the only thing wronger than what he wrongly thought was their insistence.

On top of the above, Rob Thomas only viewed "noir" as a vehicle for total fatalism... despite the fact that many of the most famous noir stories are cynical and full of moral ambiguity, but they still feature a positive outcome. The Big Sleep still has the protagonist get the girl. The Set-Up arguably ends with the happiest possible ending in spite of the beating the hero receives.

Perhaps most importantly? Despite Thomas own insistence that Veronica Mars was always "noir," the majority of both TV critics and fans did not think that designation ever truly applied. I suspect that's the reason why Thomas decided to go as dark and fatalistic as possible: He wanted to be noir, and he was being told that he wasn't. So he went so far into noir that he killed his own most popular property.

He was adamant that it was the only way for the series to grow. But as it turns out, it was instead the only way for the series to permanently end. Without that season four finale, a passionate group of fans would still be begging for more. With it? It's over. Nobody fucking cares now.

That's kind of amazing.

[melomancy]

Kate Bush in 1979

[mr-and-mr-mitchell]

Shows that got cancelled despite being good, popular, and having tonnes of potential to go on to become classics:

Kaos - 1 season - Netflix - Ends with set up for a following season

Shadow and Bone - 2 seasons - Netflix - Season 3 was already mostly written when cancelled

My Lady Jane - 1 season - Amazon Prime - Story not resolved, set up for a second season (in fact the show shows you what's supposed to happen in the second season)

Half-Bad: The Bastard Child and the Devil Himself - 1 Season - Netflix - Main story wrapped up but easily open enough for a second series exploring the world

Star Wars: The Acolyte - 1 season - Disney Plus - First series feels mostly like set up for a second series we'll now never get

Dead Boy Detectives - 1 season - Netflix - Set up for a second series with a minor cliff hanger and an open continuation for the characters

Lockwood and Co - 1 season - Netflix - Potential for a second season

I Am Not Okay With This - 1 season - Netflix - Story not properly resolved, needed a second season

National Treasure: Edge of History - 1 season - Disney Plus - Story concluded, but lots of potential for a second season

Gentleman Jack - 2 Seasons - HBO Max/BBC - So much more potential, it had so much real life basis it could have followed

Our Flag Means Death - 2 Seasons - HBO Max - I actually liked the ending we got, but I feel like the show had more potential, particularly with the crew

First Kill - 1 season - Netflix - (Not one I watched, it was on my tbw but it got cancelled and I didn't see the point)

Grease: Rise of The Pink Ladies - 1 season - Disney Plus - So much more potential And Insult to injury they've all but wiped it from the platform

A running theme for these shows are that they have a pretty high amount of LGBT rep, with a lot of these shows centering on queer characters and stories, as well as representation for POC. There are also a lot of fantasy/supernatural shows.

I just find it fascinating that there seems to be a lot of similarities between most of these shows.

[humanoidhistory]

Sony TV8-301, marketed as the world's first "all-transistorized" portable television, 1960-1962.

[vintagegeekculture]

"Lancelot Link, Secret Chimp" (1970-1971, ABC) was a spy spoof series with only chimpanzees who were given dubbed voices. It was one of the first Saturday Morning shows to have a large budget, and was made by former Get Smart writers. It featured Lance Link, a spy with a Humphrey Bogart imitation voice who was a spy for APE (Agency to Prevent Evil), and his female sidekick, Mata Hairi.

Having a chimpanzee in the cast was a standard feature of live action Saturday Morning shows for some time after this in the 70s (e.g. ARK II).

[viktorpartner]

Haven't been able to think about anything other than the victorian/edwardian/WW1 twink and his 80's punk almost-boyfriend for a week, send help