Rated Ages 6+
I thought so.
Welcome to Talking Time's third iteration! If you would like to register for an account, or have already registered but have not yet been confirmed, please read the following:
Once you have completed these steps, Moderation Staff will be able to get your account approved.
TT staff acknowledge that there is a backlog of new accounts that await confirmation.
Unfortunately, we are putting new registrations on hold for a short time.
We do not expect this delay to extend beyond the first of November 2020, and we ask you for your patience in this matter.
~TT Moderation Staff
That's, like, the actual opposite of the show? People aren't "nostalgic," they're just poor. Humanity has the means to travel the stars and no one can afford it. They're living that way because it's the only thing they can do, not because it's familiar. The past is something that tortures people, not comforts them. Isn't most data from before 2022 lost in the gate accident?What was immediately apparent from the anime is that it's not a dystopian picture of the future despite a cataclysmic world/planet-ending event that sends us to colonize space, but it's not dystopian. In fact, it's multicultural, and in that multiculturalism, we rebuild our society in the nostalgia of the world that we came from. And I think that that was something that was very important to capture, you talk about sort of the, the retro tech, and the vibe, and the ham sandwiches. I do believe in our future if we found ourselves in this place, we would bring ham sandwiches with us to outer space. Like, it is just something that we want because we like the comforts of knowing what is familiar to us.
Fun vibes override any actual story or thematic content, broThat's, like, the actual opposite of the show? People aren't "nostalgic," they're just poor. Humanity has the means to travel the stars and no one can afford it. They're living that way because it's the only thing they can do, not because it's familiar. The past is something that tortures people, not comforts them. Isn't most data from before 2022 lost in the gate accident?
Y'all weren't kidding, the people at the wheel just straight-up didn't understand what they were making.
This feels like the new "it's cartoons but swearing." Which shockingly, is a joke that every so often a show will think is novel. I like the premise of a programming block where the hosts drama is peeking through, though.So moving the subject away from all that; Saturday Morning All-Star Hits or (SMASH) also just dropped and… I kind of love half of it?
It’s a fictional Saturday morning cartoon block from the mid-late 80s, with twin hosts introducing cartoons between terrible live action sketches and toy commercials, and you gradually become aware of a lot of behind the scenes drama that just barely cracks through the facade the hosts are presenting. That part all works really well and it absolutely nails late 80s cartoon programming blocks.
On the other hand, based on the first couple of episodes, the only joke the fake cartoons seem to be working with is “Everyone is sad”. Sometimes a second premise for a joke appears, but it’s mostly “Denver the Last Dinosaur is depressed”.
Agreed. It's a really fun show, but also a relatively fast watch. I think the seasons aren't that long, either. Plus, the artstyle alone is delightful, and should be seen.So it turns out that Season 3 is Kid Cosmic's last, which is a shame because it was a pretty strong set of episodes and reminded me why I dig it so much.
The season does feel a touch rushed, as if they were informed it would be their last set of episodes mid-production, so they suddenly slam their foot on the gas story-wise. But after a strong first two episodes and a decent middle two, which mostly puts pieces into place for the finale, the last two episodes go hard.
It ends on a satisfying note, despite the rushed feeling of season 3, and I'd say it's one of the best Netflix original toons. If you've passed on it till now give it a shot.
One producer, whose show on Netflix wasn’t renewed, said that when they got to Netflix, Rynda, who served creative roles on groundbreaking animated series like “Gravity Falls” and “Adventure Time,” told Netflix creators, “We want to be the home of everybody’s favorite show.” By the time the producer left several years later, there was a “new thesis statement”: “We want to make what our audience wants to see,” Reed Hastings, Netflix’s Co-CEO, now told animation talent. As far as mission statements go, those are vastly different.
Netflix currently touts “Boss Baby” as the ideal of what an animated series on the platform should be and what kind of numbers those animated series should be bringing in (this was reiterated by almost everyone we spoke to) although Netflix doesn’t even own “Boss Baby” — it licenses the series from DreamWorks Animation. (A new “Boss Baby” series premieres next month.)
Ito and others have complained of being presented with “staged data,” data meant to prove a point that Netflix has and squash conversation around it. Ito described the data as explaining, for the first time, “What they should have gotten for what they spent on the show.” (Netflix confirms their decisions are made using data, which takes into account viewing versus cost.) Creators have described the process as “manipulative.” One producer sent the data back, asked questions, and received a separate, different set of data that still reinforced Netflix’s position. Ito was left wondering, “Well, are you going to make more or not?” Netflix did not. Ito is now at Apple.