http://bekindrewrite.com/2011/02/04/what-does-hang-a-lantern...
when done artfully it works well, rather than insulting intelligences, or seeming intentionally dumbed down.
think foghorn leghorn with funny physical humor for the kids and subversive humor for the parents.
Sort of related -- I have friends who are immigrants to the US. They have a hard time with subtle types of humor, but some extra physical humor can sometimes let them have a good time anyway.
Edit: Apparently, Foghorn goes even further back and is a parody of the sheriff from Blue Monday Jamboree as the first Foghorn episode predates Claghorn: https://cartoonresearch.com/index.php/the-origin-of-foghorn-...
The reason they were produced from the 1930s to 50s was to be run in movie theaters before the main picture. Since they would run before different kinds of movies they had to entertain both kids and adults. Some of the humor in those cartoons clearly went way over the kinds heads.
It was only later that they were bundled as TV shows for children.
Any chance you have a source where I could learn more about this aspect of Mozart's work?
Some Asian content can be like this, sure, but I suspect that's stylistic rather than for the reasons Netflix are doing it.
The worst show I've seen for this was american - mythbusters.
Casual Viewing – Why Netflix looks like that
https://news.ycombinator.com/item?id=42529756
The new literalism plaguing today’s movies
https://news.ycombinator.com/item?id=44567683
Why 90s Movies Feel More Alive Than Anything on Netflix
However I find I just don't care anymore. It's such terrible crap. And all the same tired old tropes. The snarky detective breaking all the rules. The muscly ex-soldier that bashes heads in. The superspies with offices that look like nightclubs. And spinoff after spinoff which are even more dumb and one-dimensional than the original.
Once in a while there's a pearl but they're few and far between. Most of it is fast food entertainment and utterly hollow.
Netflix will probably absorb them and make them even worse than they are now.
That's in screenwriter circles called the hook, not the plot. You don't reiterate the whole plot for the innate viewers, you just deepen the hook, usually by giving wrong hooks, which are then replaced by better hooks.
It's not that Netflix invented TV scripting. Even with festival movies you turn it off within the first 5 minutes if you have to judge 200 to 2000 admissions in a month. Same with distributors. They certainly don't watch the whole movie if it starts bad. It usually doesn't get better in the third act.
I'd guess more people will watch Matt Damon's new movie on Netflix than watched Adolescence before it won the awards
People want to see (are more likely to watch) super and action hero movies with big stars in - but there's been so many of these with fairly similar plotlines that outside the attention grabbing action and fight scenes the quiet/story development scenes become like ad breaks and people start looking at their phones.
If Matt Damon made different movies for Netflix (like adolescence!), he'd get less views but be given more freedom.
> shows like “Adolescence” are “the exception,” Affleck said he felt the show “demonstrates you don’t have to do” the Netflix tricks to please audiences.
They are designed for people ironing or cooking; you can leave the room for twenty minutes and miss absolutely nothing.
Personally, I can't bear them, the constant spoon-feeding is torture if you are actually paying attention, but Netflix is effectively just adopting this proven, low-attention retention strategy.
Damn, this explains Brazilian and Indian soap operas so well too!
If people can't pay attention, fuck them.