Is this why there are so many reboots? Because these are the kind of original ideas that creators are pitching networks?

>she fat
You just made her sexier.

You pass the test

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there was a HUGE protest, writers who write great storyes and have original ideas dont get nearly enough money for their work , all while directors and actors make MILLIONS
so they stopped and or quit,thats why there is so many reboots and shit shows

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Do you know where we are?

fuck it, let's pitch ideas better ideas than this

>magical girl midlife crisis
>milf/ex magical girl with a miserable job and family who wants to get back in the game, and her lonely cougar BFF who never gave up the superhero life but sacrificed her personal life for fame/fortune
>the former takes on an apprentice, a young gal who's a fan of the classic era of magical girl heroes instead of the modern current trashy/provocative/edgy sellouts.

>milf trying to stuff her chub back into her outfit

>Magical girl from Japan
>sick and tired of being paraded like meat, not being a real crime fighter and the dykes that infest the industry, she goes to America to be a real hero
>she joins a group of 60's era superheroes
>they like her enthusiasm, but her brutal and bloody style of fighting leaves much to desire
>over the course of the season, she learns there's more to be a hero than just punching people's teeth out and kicking their asses

Wild Life was the better show and no one cared.

Do you have any idea how many failed shitty "adult" comedies there have been? Believe me, this shit is nothing new.

>the most attractive thing from this cartoon is the talking red panda

Ok Satan

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Dude this is Zig Forums half of us are gay crop a dick bulge and you’ll see mad replies.

i like how its obvious this was made by people whos only knowledge of the genre was foggy memories of sailor moon on CN

Because they are safe bets due having already established Fandoms and audiences as well as a established brand, which also means additional publicity and more initial interest.

It is a "numbers go higher" thing.

On top of that, reboots are tried and true formulas, whereas nobody wants to give chances to those who could potentially tank companies

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Reboots happen because they have guaranteed returns due to an existing audience...or so the logic goes. The problem is that you have to change something to justify the reboot but can't change so much that the property is unrecognizable. It needs a good elevator pitch.

So for example: Ninja Turtles 2012 changed the brothers from the 'basically adults' they had been to actual teens and replaced the Utrom stuff from the previous one to a 1950s inspired sci-fi. "What if we made Ninja Turtles focus on the four brothers growing up in a chaotic and unexpected world of homages?"

Or for a bad reboot look at Rise of the Teenage Mutant Ninja Turtles, which seemed to say "Let's take the Platinum Dunes movies and add mysticism to them." And let's make April a mutant too. Fail.

sexist pig

Unironically yes, all original properties suck now like this feminist abortion
>there are good original stories out there, its just that networks are unwilling to add them to the roster if they don't have the right ammount of representation
So because of something as stupid as "representation", something only narcissistic SJWs want, companies would rather shoot themselves in the foot making bad shows instead of good content that will get watched instead?

>And let's make April a mutant too. Fail.
I know shes black but geez man

>series ended without a body swap episode between these two
despair

Actually as someone that bailed from the main TV industry before all these reboots saw the light of day:
All of the TV animation companies intentionally hang onto properties that are two decades or older because not only do they do well overseas, but because it's one big scheme to keep the same few properties popular until said companies go out of business. (In other words, never.)
All these people running the studios, stations and streaming services all enjoy the same formulaic one note animated series like He-Man and Scooby-Doo. Completely unironically. And they want to make sure everyone on the planet enjoys them as well.
This plan only came about when the Iron Curtain in the Soviet Union fell, where hundreds of said shows and movies (live-action and animated) brought in millions of dollars from those countries, where plenty of said shows have been either giants or cult classics ever since 1991.
Now Hollywood and the like are actively trying or waiting to get into countries like Iran, Belarus, even North Korea. Just to keep giving the same few IPs reboots and revivals. Again and again.
As for Magical Girl Friendship Squad, they only greenlight that stuff as filler time. They completely do not care for most original ideas. In fact, shows like that end up being cancelled or intentionally minimal advertising and exposure.
TL;DR Get ready for more reboots and revivals.

Look at Nickelodeon, from the early to mid 2010’s all of their new comedy cartoons were crap. FB & CC, Breadwinners, Robot and Monster etc.

The story for how this show came about is pure luck and nepotism.
The creator, Kelsey Stephanides, didn’t go to school for animation or even film (i.e. writing/directing) - she’s a producer by trade with a communications degree.
She worked a number of small intern/production assistant roles, but a couple of years ago ended up as a PA at Titmouse on Ballmastrz.
Right around that time James Belfer, a multimillionare film producer and founder of the indie studio Dogfish Pictures, decided to get into the adult animation business and founded the studio Cartuna in NYC, the same city as Titmouse’s primary operations.
The twist is that just a few years earlier, Befler was Stephanides’ professor at NYU, and he called her up offering a job after learning she was now at Titmouse (and thus had some relevant experience). While an employee she very simply drafted the show out basing it on her own interests just so the studio could have some ideas on the backburner to pitch around and eventually SyFy, wanting to get into animation in a major way, called up Cartuna and had a look at their slate and picked it out of a lineup.
If she had blind-pitched it as a first-time creator with zero experience in the creative side of animation (i.e. absolutely none in writing, boarding, or directing) there’s no way it would have gotten made. A bunch of shit had to line up for us to get stuck with it.