The entire debacle with the Mario movie before and after its release is just exhausting and stupid.
On one hand, the critics were right about the hollowness of a cinematic experience in that it didn't necessarily lean into its cliches to show how tongue-in-cheek it was but at the same time, some reviews are stupidly mental. Then there's the contrarian audience who seemed determined to call them out simply because the critics are seemingly insane about their words and siding with reviewers who like the movie because it validated their opinion.
The Rotton Tomatoes debacle was something to put up as some aggregator when it failed at even that because RT was paid by studios hence the confusion of its scoring. Letterboxd is a far better audience aggregator site than RT could ever be because it's all about the audience. I don't have a Letterboxd account as I failed to keep up with MAL.
There is nothing wrong with having a simple movie and a movie with themes pushing the story and characters.
With Elemental marketed as a 'kid's movie' above a 'family movie' or an 'adult profound animated movie', it also brought up the question of originality.
Yeah, Elemental is original but derivative. Not everyone would support something original just because it's original nor should they have to. If that were the case, we should support all the trends that came out of the multiverse movies just because they are making original stories around the basis.
Personally, the way people hammered about Elemental made it seem like it came out already. To most people, it was just fine or okay by Pixar’s standard but not more groundbreaking. While people aren’t reacting to it the way the Mario movie somehow provoked, Elemental’s initial release was not good and deemed average. Nobody hates the movie but it's just nothing spectacular by Pixar's standards.
I mean the Mario movie trailers spelled out everything one needed to know about the movie with nary an emotional aspect. Sure, there's the motive of saving his brother, and the brotherly love was there but it's nonexistent compared to Luigi who got a relatively smaller role but his character arc is just barely there, hooking as he had more of a character than his brother. Fuck, Toad was supposedly wanting to prove himself to Peach but we didn't go into his headspace much unlike Luigi.
A lack of originality doesn't make something bad. Leaning into it and being tongue-in-cheek in a world that demands cynicism could be the way to make it work.
People do want originality in the abundance of IPs. Newer IPs are spaghetti thrown at the wall and hoping something sticks. Witch Hat Atelier, Oshi no Ko, and Ron Kamonohashi Deranged Detective are a few examples that have done a great job as popular IPs are ending soon.
Animanga had always been that way, hoping to throw whatever ideas and just hope which one would gain popularity. In the West, it’s greenlighted ideas that managed to break past but then that show had to deal with the shareholders and CEO who wanted to save money only to lose much more because of refusal to pay living wages to union writers, holding the shows over the audience’s head even though they’re the ones canceling the shows that could give them so much money and loyalty. Not to say the industry is much better in the East too but compared to here, what they’re doing is normal.
When people are demanding realism and fewer plot holes in response to the CinemaSins and angry video reviewers just pointing out by the end of the day nitpicks, then that's where it becomes the problem.
Honestly with angry video reviewers and CinemaSins being outdated yet their influence reign outside the internet and video essays being popular (though that had been under criticism. See Pinely’s video for that. I have also seen criticism aimed at way too long video essays but TRO aren’t one of them.), it showed that these nitpicks are just nitpicking.
I have seen more people come in defense of movies than I have seen before. In the heyday of the Nostalgia Critic, we wouldn’t see that.
It’s a side effect of the safe franchise remakes we are getting but it’s hard to miss the change from people saying that these studios seem to never watch the movies or even the source material.
Demanding sincerity and going along its sparkles eyes with a nary of cynicism is hard for nihilistic cynicism.
There is nothing wrong with that, especially when the narrative has to make sense in an obvious at the end of the day it’s still idealism. But when people are trying to push nihilism into an ultimately idealist work is those people's problems when the genre spelled out that it's going to end up relatively happily.
Idealism is apparently too hard to comprehend in genres like Shounen. I’m looking at the MHA fandom who really believe certain characters should die even though a character already died to represent that and to kill off those two characters will set back the themes, character development, and so forth. MHA is a deconstruction but it’s still a reconstruction. Conventions of shounen are still used such as major flashbacks and thoughts prior to a character’s death and should’ve been a flag to know in MHA that these characters won’t go out. I mean when one character goes out the usual way Shounen usually goes out with a character's death (see Jiraiya for instance), then the characters won't really die. If they know the conventions, then it should be easy to know what will happen, particularly if you know critical thinking and reading comprehension so that's why I scoff at these people even having those nihilistic thoughts. Seriously, Star Wars was definitely one of its biggest inspirations with all the location names and even symbols being on there. The hometown of UA and Midoriya and the Todorokis is named after the planet Anakin lost most of his limbs and burned rendering his need for the life-support suit! Seriously, Dagobah Beach is the closest thing you are going to get to the original meaning of the location disregarding the Dark Side.
That Star Wars is ultimately a fairytale about a son saving/redeeming his dad and toppling an empire out of love and compassion that is idealistic at the end of the day is apparently too hard for people to comprehend. I can't believe Kohei Horikoshi's MHA - in which the themes are just so tightened by characters and plot as it should be and comprehensive but no, people want nihilism - understood what Star Wars OT and PT stood for more than Rian Johnson and anybody working on the ST by rendering ST and ultimately SW a tragedy when it has never ever been that way in OT.
Man, imagine if the Prequel Trilogy of Star Wars was released first rather than the hopeful Original Trilogy. The Prequels and its companions, Clone Wars, revel in dramatic irony as a tragedy which is a legit way to tell a story. The point of the Prequels and Clone Wars is to tell a tragedy with one ultimate bad guy while gray everywhere else, unlike the Original Trilogy which is more straightforward hope good vs evil.
People think that the magic is lost because we already know what is going to happen when the Prequels and anything related like Clone Wars are steeped in dramatic irony. It's a fucking tragedy.
If the Prequels had been released first, then there'd be arguments about the good vs. evil thing rather than the tragedy and dramatic irony the Prequels have to deal with a nonsensical argument.
Dramatic irony is a legitimate way to tell a story. Titanic wouldn't have worked the way it had when everyone knew it and yet the story still worked.
At this point, it's reading comprehension and critical thinking that failed so hard to understand the basics of literary techniques. Fuck, conventions of genres are bashed precisely because people failed to understand that. I have seen this with MXTX's MDZS which is a deconstruction of xianxia and people failed to understand that when the story is a deconstruction and deconstruction means that people already know the conventions of that genre.
Like, people complain about how obvious Palpatine is Sidious of OT and how that made them seem smart when no, the Prequels utilized the literary technique of dramatic irony. Those people are idiots.
Kids aren't a bad demographic to target.
While animation is hard enough to fight for its place as a medium, kid's animated movies and shows do not detract from the argument. It has its place in this world.
Flash animation is used primarily for Edutainment shows. Animation with regular outsourcing which is par for the course by the way is used in substitution for live-action shows. Just look at Wild Kratts and Zambomafoo which starred the Kratt brothers but existed in different times.
Because outside of seeing kids or the cast interact with the real-world animals in segments in between or after episodes, it’s just not a full-time episode with that sort of thing.
Bluey has been praised as a great show for preschoolers and its demographics. There is adult stuff in there that is handled tastefully, but it's still a preschooler show. It's not a dark show or a saccharine world with dark undertones.
Kids are much smarter than anyone realizes. Mr. Rogers wouldn't have tried so hard to make people understand even that.
Kids are also just as good a moneymaker as women are. Animation's easiest target is kids hence why a lot of shows are animated.
Elemental is aimed at kids. That's what the marketing says its demographic will be. Depending on the marketing of which Pixar flick we do see, Soul says it's reaching a more different audience than Elemental.
There is nothing wrong with Pixar aiming for the kids' crowd. There is nothing wrong with animated films aiming for kids as their main demographic.
I know Pixar's repute had been called into question even before and with Lasseter's departure. Lasseter's comeback with Luck said he should retire at this point and live out his days peacefully.
I know the critiques about Pixar's lack of emotive work even though Cars 2 had all but said so honestly. I don't know why Turning Red and even Brave getting the scrutiny that they certainly don't deserve that hard.
There is nothing wrong with going out of that space but it seemed people were expecting so much despite knowing Disney is their reigning overseer hence we got the announcements of all those sequels.
While I do think Pixar should expand more than just thought-provoking emotional pieces, the way people are going about their critiques seems to more reside with Disney on the state of things. Hell, the major works under Lasseter are largely Americana so it's a relief they tackling parts of the world outside that.
They're the overseers of all the properties they bought out. It's obvious Pixar had to do the sequels because it's the easiest way to make a buck when original products are make-or-break in this franchise-nostalgia-safe heavy film industry.
Disney after the Fox acquisition needs the money to pay off the debt that they paid way too much money for because Fox certainly does not deserve to cost that much but given how everything played out with the opponents not even wanting Fox... Yeah, Disney has everything coming for them with Iger's bad decision just to have the Simpsons.
Because most of the problems Pixar is having can be drawn back to Disney. Moana the live action was only made because of the Rock because the original VA for the title character is not returning and gave the idea of Disney a win-win. Imagine we get an announcement of live-action Frozen and Tangled and Wreck-it Ralph and Princess and the Frog...
Comparably, TLM is just a tad better even when it was bogged down by the nitpicks that Disney took so seriously. Really, Halle Bailey and Ariel/Eric chemistry romcom middle all of a sudden which is nice carried the film. Hey, we got Halle's personality and her rendition of the classic TLM songs which compared to the lack of personality of the previous remakes of the classic songs. I mean nobody even heard of Cinderella 2015's soundtrack including Lily James. I think Patrick Doyle's work overshadowed the covers anyhow. The fashion was just there - no complaints about it - but there were no 'the dress' moments for a Disney Princess. While I'm not crying about the fashion like the way I did Cinderella 2021, at least Belle got The Dress moment that Ariel just didn't have which Halle Bailey's Ariel deserved. No wedding dress, no pink dress, or even the glittery dress. I like the peasant dress enough but I'd rather want to see Halle Bailey's Ariel look spectacular. If I was a Disney Princess and didn't have The Dress moment, then what am I? I would be so mad.
Remarkably, it's higher than expected on the list of Disney remakes which is not hard but unexpected. The cons still outweighed the pros but watchable, enjoyable even. As long as TLK 2019 lost its status, it's fine by me. The worst remake still goes to that or Mulan because Pinnochio is bad but so rushed and lacks understanding of the source material that not one good thing from it could save it. Peter Pan and Wendy were just dull. At least there is stuff TLM 2019 that can be enjoyed, even ironically like the poor rap that is so disconnected from Menken and Ashman's usual Broadway style. LMM's innovative Broadway style does not mesh well with the older style at all, to say the least. And not every character should rap too. Why is Scuttle rapping?
We're gonna get a long list of Disney remakes in the future and who knows when it's gonna stop. Disney classics are there but if we're dreading modern classics that were only released for nary seven years, then who knows at this point?
Really, it's all a symptom of safe moneymaking in franchises and nostalgia. This also feeds into popular brand names including Mario and Spider-Man; hate to admit it but as much as either film is good, there is no denying that part of it was the brand names. For better or worse MCU set off the franchising of the movie landscape for decades, I mean we got Robert Downey Jr returning in a big way and people welcome that but the whole world does not have the same mindset of having comics put into the large screen with animation being a major difference in this case. DCAU has been heralded because it kept its consistency and it's not like everyone is expecting to watch every last of it but this is for television and this was long before we got at least ten episodes at best rather than a full 26-episode season.
Franchises had also sapped the magic out of something bit by bit just with yearly releases too. With the MCU being the biggest one here, the magic is just gone.
At least with Star Wars in the aftermath of the sequel trilogy that severely damaged it, the yearly releases will do the job.
It's bad when people just aren't feeling anything with the announcement of fan-favorite Ahsoka Tano getting her own show.
It's just depressing and I'd rather have the releases spaced out or not at all. Just let fans do the job of fanworks and it's all good at this point.
Actually, with the mention of Star Wars, the fact that the energy has lessened and turned to apathy made it very clear brand name does not equal money necessarily.
DC and Star Wars are two of the highest-grossing franchises yet the DCEU and SW Sequel Trilogy fail to sell any toys that are remotely selling well as OT and PT. It was that bad to the point that even though SW ST is recognized as part of the Skywalker Saga (let me laugh and cry in despair for a moment. OT and PT are the true Skywalker Saga and the potential or even just specks of the mythologies and politics that enveloped the first six films, the last three have no such connection and if I were to accept, it’s the characters, not including Kylo Ren who I’m seeing as this nebulous character rather than what could be told with the Neo-Nazi imagery and the politics that failed to take in consideration of the Old Republic and apply it to BIPOC characters. Saw Gerrera and Ezra Bridger vs. Mon Mothma and even Leia's realization in Bloodlines that people like Darth Vader aren't made evil shows that racism, classism, and white privilege are reflected better than anything done to any of the sequel BIPOC characters. I have deleted the ST from my mind and only used the characters but I will emphasize that ultimately SW is a myth with politics and bureaucracy that includes the Jedi Order who had grown too dogmatic - which is the problem because it's asking everyone to be too narrow when there is nothing wrong with the dogma itself when used in moderation. The issue is when it became dogmatic. It’s not the Disney retcon bs of possessive selfish love when a nine-year-old was denied even the basic worries and fear for his enslaved mother. Anakin is not an idiot and using the Disney retcon bs to say that made the Jedi even worse because Anakin was outright denied and forbidden contact with his mother by the council. Jedi was forbidden to love hence Obi-wan’s inability to express his brotherly love for Anakin in a healthy manner except for insults that are way too critical. The Jedi are open to casual sex but to say Anakin wouldn’t know the difference between possessive love vs compassionate love is cruel to Shmi, Anakin’s younger pure self, and intelligence. Anakin has many issues but one of the main problems is his inability to let go and move on. The Jedi aren’t bad people but we are supposed to read they meant well in spite of their missteps and the need to reform their stagnant ways that are helping the festering corruption and turning a blind eye to the slavery of the Republic including the clone troopers and being so far removed from the common people they could only understand superficially. While they aren’t corrupt, they are sure as hell not savvy and refused to play the game. Yeah, Palps need to die but that plan is so stupid because Palps is a popular leader. The Jedi Order as a bureaucratic organization is the issue, not the individuals. Now that rant about Yoda is deserving to him as he was the one who participated in the war instead of remaining neutral. They have so many options but they dealt in absolutes with what they think they see given to them by Palps. Reform! Grow with the times! That’s what the Jedi Order of the Old needs. Blaming the Jedi as easy scapegoats for the Republic Senate's failure is just so common when fucking Palpatine easily knew both sides of the issue. The Senate has just in the hand of the Republic's failure as much as the Jedi. The Jedi were the scapegoat while the Senate could just wash their hands off and Palpatine's ugliest legacy was the people can easily sweep away the corruption without realizing the corruption was from the Republic that Palpatine only used in his rise to power. - and refused to adapt to the changing times and hypocrisy that does not negate their religious inspirations. The ST tried to say they moved forward but showed they failed to understand OT and PT beyond acknowledging the Jedi failed Anakin - in part, they are the guardians of a little boy whose mother was still enslaved and the Jedi really did nothing about the slavery part because at no point and even Qui-Gon scoffed off the slavery in the Hutts-occupied Outer Rim, self-aware he was not - and that’s it. And even then, why did Luke create the same thing while knowing that?! The point of OT was Luke ignoring his Jedi mentors and becoming the new Jedi! Because Yoda is there and he hasn't learned anything at all in OT, just going crazy with grief! Fuck you, for the failure thing just for Yoda! My disappointment knows no bounds. Rian Johnson’s weakest work is definitely TLJ and I don’t care. The Benoit Blanc series shows he moved on and can make better works with an understanding of the systemic abuses but less so around the time he made TLJ because let’s be honest it’s clear he does not like these characters and made them in service of lack of agency, failure to understand OT, and cynical nihilism. I ignore the crap out of ST in particular and just don’t care much about SW anymore my consumption of SW fics is only in junction because fanfics used them nebulously with the characters only appearing in a happy universe or just there yet no active role in the plot just as much as Mara Jade but actively avoid Reylo and ST events as a whole. I utterly loathed that the Skywalker legacy is reduced to dust with the newer characters taking up what Luke had done instead of ya know actually having Luke and Leia's legacy remaining throughout instead of having nothing of their legacy in the end. Don't give me crap about Rey continuing on that legacy. She never has her potential fulfilled as her own character thus the Skywalker legacy is literally reduced to nothing. The ST is never ever going to be part of the Skywalker Saga because it was never was and never should be. Thank the fucking Godoka that I got the original Lego Star Wars that completed PT and OT and that's it and I'm happier for it. I could just play it again and not give a shit about the ST era at all. I do not see the ST at all and go 'sequels? What sequels?') and DCEU is now under the hands of James Gunn. Zack Synder, who I’m not a fan of, left the projects for his own sake, and that is how his view of superhero comics left much to be desired.
Name brands could really lose steam and might kill off enough interest in the normies. That’s the main problem, not the people who partake in the hobby of fandoms who are well aware of the rampant -isms. Yeah, daily updates as the fandoms will continue as I know this very well. Declaring the diehards as the enemies is just bad even though yeah there is a nerd-to-fascist pipeline that exists in the Manosphere as well as nerds getting the nice guys from pop culture that promised them women. Attacking what came down to a small vocal portion as well as not acknowledging the -isms do persist in fandoms in more ways than one (oh, you should’ve seen the racism and so much in progressive shows or just straight up not acknowledging leftism in Andor for an example). Seriously, the people who decried that this moment in Disney Star Wars is not culture are just stupid at this point after what these same people say about PT and lack of understanding of OT. Well, we got Lizzo in all her fabulousness as Padme’s fashion icon. Luke’s ROTJ costume will reign supreme even with Anakin’s numbers but Anakin is less likely to wear couture than Padmé and his kids.
It had to be a good crowd-pleaser for a franchise to even start and not the least studios outright say that it’s a new cinematic universe. The Dark Universe crashed and burned hard. The MonsterVerse was just there even with Bear McCreary’s best works on there.
Just don’t expect name power = easy money as well as Hollywood superstars just dying out. Even in the franchising of movies, the entertainment of the masses reigned over critical analysis and not even that.
It boiled down to quantity over quality essentially. Unlike MHA and anime which are released every few years or wait just enough to fulfill certain arcs while the manga will still continue and the gacha games will just make events line up, the superhero franchises of the West demand yearly releases as if they see the audience as having an attention span of a goldfish or fear losing interest because of the binging thing we got. It was so bad enough that people are revisiting the older seasons of more than twenty episodes the breathers and so on.
At least anime remains the same with a 12-episode count. The landscape over here changed way too much to allow even a 26-episode season with streaming and all. Look at the difference between Star Trek Picard, Discovery, and Lower Decks with Enterprise. Heck, look at Star Wars Clone Wars 2008 series season episode count till the last season.
I'm actually wondering what if Stranger Things has a 26-episode count. Would that force them to develop further? Not that's happening because Netflix won't go that far continuously.
In this case, it’s a mix of quality and marketing. Well, quality is focused on the plot with no breather episodes, just comedy and heartfelt scenes interwoven rather than an entire episode of craziness. You won’t see a modern Star Trek episode with DS9’s Our Man Bashir aka the episode where the senior staff were tapped as holosuite characters because a human dumped a transport buffer into the station’s core memory and hoped it worked out somehow! With binging and money thrown at GOT, it isn't any wonder that it changed.
However, I also heard it's also a case of trying not to pay the writers and actors. In that case, I want more episodes!
But at the same time, the fact these ten-episode runs can just be dropped on streaming, and the general audience has the attention span of a fruit fly and move on instead of keeping up with a show that is released on a specific date and time weekly lasting a season or more that provide loyalty.
I mean wasn’t it any wonder I can keep up with animanga and want to stay for the theories and fanart?
Just can I please get back the 26 episodes run anyway? Instead of the ten that can be just dropped after filming and streaming? Because we need loyalty back.
I’m going out of my way to get physical media and outright piracy now because streaming once killed piracy and physical media has now made it pivotal that piracy and physical media are now revived after three years.
It does make me miss breather episodes which is a requirement. Getting to know these characters before the storm is a piece of writing advice that people should understand. Fillers and breathers are different except fillers add nothing while breathers do add characterization and breathing room before the storm.
I just wish that instead of having plot and plot and just having breathing room before the pain, ya know. Get to know these characters when they feel more relaxed away from the plot, just on a vacation or resting, or in the middle of a break.
At this point, even the capitalist shopping mall from other characters while others trying to solve a riddle in Stranger Things count as a breather even though it doesn't.
Can I just have an episode of Steve and the kids just going to the movies together or camping? At this point, the Coca-Cola Stranger Things collab counts more as a breather as we do see Steve and Dustin relax before watching a movie together.
I just really miss breather episodes, okay?! Just plot all over with levity still there but no breather episodes! What is wrong with a beach episode or just something relaxing for these characters to go on before the big adventure or in the middle of said adventure?
Really, can I get a Steve and the Party bonding on a trip to Indy to buy some DND stuff or a concert?
That's apparently too much to ask for in the streaming age.
Even when anime itself is cutting back on fillers, breather episodes are now only in recaps or in original episodes at best. Just look at MHA where we see the swimming pool episode that is the first episode of a season. It's a rare episode of anime-original only but MHA also took breaks to get arcs so they could adapt.
Heck, I'm perfectly fine with SK8 having the summer beach episodes. I want that! Those are breathers!
I'm just gonna cry over here that not even anime cutting back on breathers because of the fillers thing that is understandable but breathers shouldn't be the casualty.
I'm not asking to bring back fillers when all I want is breathers that allow levity and plot and character development in a different form, showcasing and advancing the plot in ways people just don't understand.
Again, fillers and breathers are totally different but one actually has an impact on the story while allowing breathing room for levity while the other is fluff.
There are lots of problems with media that is failing to understand that while we don't want everything to return to what it used to but to adapt while showing that it doesn't need to have all plot rather than have it while critical thinking is failing so hard due to Twitter and nihilism. Not everything is made for one person nor should it be done that way.
A lot of the Hollywood movie industry's problems boiled down to the expenses that breaking even is way too much for an event film that is not even an event film at this point consumers after the pandemic are now choosing wisely because of inflation mostly. Just because it was made just a little over the budget does not mean it's a success; it needs to break even by double that amount or more which is just terrible.
At this point, mid-budgets do deserve to come back and franchises would be back but only in returns. As much as I hate to admit it, The Super Mario Bros Movie and Spiderverse have popular IPs on them.
Then again, The Flash which had Batman prominently and surprise Supes cameos failed epically. Blue Beetle succeeded but not as a box office success.
Franchises and popular IPs still remain a significant problem. When it started to infect many other media like video games and shows, it's not gonna stop for a while.
Budgets for movies will be cut down while television budgets will go up even if it's just a particular project that might get its money back.
I don't know about One Piece but one of the goals of the live-action was to reach a mainstream audience outside of Japan where it's almost a religion there. In the West, although OP Red was a success, I don't know if anyone outside of the anime community is watching it because unlike Demon Slayer which is a gateway anime for many, it's unsurprising that Demon Slayer movie will make that much money. Demon Slayer isn't my favorite shounen as I found it too clean of the genre for my tastes but it's understandable DS was a wild success. The live-action of One Piece due to its initially poor dub job and overall cartoony nature that is more in line with Looney Tunes and extensive length puts people off so this live-action was a one-last shot to the Western audience before the series ended and certainly succeeded.
Netflix's goal was a cash cow in the likes of GOT because many studios have yet to find their GOT when GOT's fanbase was able to recover just a tad in The House of Dragons while the crew and cast behind OPLA are passionate about bringing the heart and soul of the story and characters to a new audience that otherwise might not get into One Piece for a variety of reasons.
While One Piece might just have a bit of an edge over Sandman, Sandman was still Neil Gaiman and even among the general public, pop culture had adapted his works successfully as seen in the case of Good Omens so his works are a goldmine. Sandman still got renewed for a second season even if their budget was decidedly lower than OPLA's.
IPs for live-actions will still happen but as seen in the best adaptations, there must be a balance of the camp/whimsy with the serious. Essentially, take the work seriously but don't make it serious. There are times an international cast is best - looking at you, AOT, and FMA as OPLA depict this brilliantly as Oda made it clear that everybody in the Strawhats came from different nations - and sometimes it's best with a Japanese cast - look at Bleach for example. MHA strictly takes place in Japan with some darker-skinned Japanese members in there but it benefits mostly from a Japanese cast because MHA deals with the Japanese system just as the Persona series and Death Note which again I would point out failed to say anything about the American system whereas the original did have something to say about the Japanese system.
When Jungle Book and Cinderella were the best of the bunch, it said a lot that no matter how successful the remakes are there is gonna be a point where a faithful adaptation that its own thing that justifies its own existence is going to be better received than a bad adaptation that makes a mockery of the source material and what people actually love about it with people who are only doing their job or just don't like the material to even respect it.
While the floodgates are certainly open with One Piece's successful success, who knows what is going to happen in the future of IP in the live-action format?
With remakes being lampooned and the best ones seen as the best of the bunch, it's hard to argue that IPs moving forward is still gonna be profitable.
