![]() Needless to say, Pokémon: The Series was treated the same way it was on the States, except Disney XD never took over it and thus Pokémon the Series: Sun & Moon aired without ads. The Captain Tsubasa 2018 series only was advertised on ads that were for the channel as a whole meanwhile Beyblade Burst was even more ignored than Kai, not even having re-runs and airing without ads. Dragon Ball Super and Dragon Ball Z Kai had NO ads for them AT ALL on the channel itself, with all publicity for the show being done via YouTube (show in singular since that channel only advertised Super while Kai was outright ignored). This is basically Cartoon Network Latin America's stance on anime during the late 2010s.Compare to Never Trust a Trailer, when a work is intentionally mismarketed in a misleading way, as well as No Budget when the work itself is made on a shoestring budget, and Surprise Release, when the very existence of the work itself isn’t revealed until its release day. Fans who actually liked them will be the ones who Keep Circulating the Tapes. These are frequently Not Screened for Critics. On TV, this is one part of being Screwed by the Network. As a result, many films in this era held back on major promotional campaigns until two months or less before their final release date, as a precaution against overspending at a time when a film's release strategy could change in the blink of an eye and with box office numbers having not yet reached pre-2020 levels on average. Several films that had been heavily advertised in the months leading up to theater closures, such as Mulan, No Time to Die and A Quiet Place Part II, wound up having wasted massive amounts of ad money. This leads to a flawed end product with a tacked-on happy ending (to please audiences) or other significant changes that mess up the creator's vision.Ī variant of this trope developed with the COVID-19 Pandemic, which waylaid the releases of numerous major 2020-2022 films and even led to many shifting distribution strategies entirely. This often happens when Executive Meddling slams headfirst into a creator who really, really wants to create the work he wants without interference, but is too green to have Protection from Editors. So the movie/show/book/game does get released, and serious fans who know about it can find it and see it/buy it. Figuring that the money is going down the drain anyway, they simply slip the work into theaters, into its timeslot, hoping that it will just quietly go away, and they will have fulfilled their legal obligations. Sometimes, however, the studio or network just doesn't think it's worth the bother. This is how tickets get sold, and why people tune in at prime time. Without this promotion, many people simply don't know a movie exists. This is where advertising comes in: billboards, television and radio commercials, interviews on talk shows, online ads and so on. To make that money, they need to make people aware of TV and movies. ![]() To be viable investments, they need to turn a pretty sizable profit. ![]() Jim Sterling, "Konami is Konami", discussing Blades of Time
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