Media Team get in here.

Hurry I don't want to waste much time on this.

Tony and Dan Gilroy are fired and banned from all of our studios. They can redeem themselves when they come back with respectable fresh new accolaides in hand.

Beau Willimon, Tom Bissell, and Stephen Schiff are on probation. If they can't conjure up anything worthwhile beyond this point, they're also fired.

Given the chief complaint of the community was that things were over too soon, the studios went to the oppossite extreme. Instead of delivering more content, they dragged out the scenes. Unfortunately the sum total of the project yielded almost zero relvant scenes at all. The suspens build up was well done but every single time led to nothing. It's like painstakingly growing a tree that never yielded fruit. None of the characters were likeable including the jankity old robot. There were critical instances of characters acting against their nature or projecting passion where there was no reason for investment given.

This ran more like a soap opera riddled with underwhelming drama that ultimately was completely irrelevant to anything. This run contributed almost nothing to the cannon, exempting only the end which was practically glazed over and under played.

As a viewer I followed a character's story of obsession and misplaced blame, only for his self sacrifice for a plent he had no investment in at all and for the main character to literally go
>literally who
The character was entirely irrelevant to anything including his own sad pathetic loser life.

>>935800773
>a planet* he had no investment in

I want to emphasize my disappointment with this run, the cost-to-flop wastes, and how inexhorably Tony and Dan are on my shitlist.

With that said, despite none of the characters being likeable, the entire cast was amazing. All of the directors are to be pinned for future projects as the cinematography and scene transition was impeccable.

I want it understood that I do in fact see the necessity for the end-game of this series to have been brought to the screen, but thanks in majority part to Tony and Dan, that was not only tedious to fucking get through, the vast majority of it was totally irrelevant. Even the key points ultimately building up in necessity were so poorly written that they seem almost obscure in the story presented.

The initial hook was also fucking terrible and I didn't even feel like a story was even being told until episode 3. That damning enough, there never felt like there was any kind of singular cohesive arch at all. The entire series focused far too much on the personal dramas, scene-by-scene, that were almost entirely irrelevant. Tell me why a daughter hating her mother was at all a necessary seen or how it contributed to the cannon in any fucking concievable way.

Being a prequel, beset in a long running line already solidified, why was there any focus on the marriage at all?

Before any more scripts get funded and ultimately end up on my desktop I want every key player along the way asking questions like these. Don't ever bring this kind of tedious garbage to me again. Nearly every other series up to this point had something of great substance and had the audience clamouring for more, which therein lies the chief complaint that the series were over too soon. It was a problem with the pacing of presentation, but rather the audience always wanted more of the notable and identifiable characters, which this series totally lacked save a couple of politicians that always lingured in the background in other movies/series within the cannon.

>>935801022
>It wasn't* a problem with the pacing of presentation

Any whispers or muted accolaides you might of thought you heard, were probably artificially generated. Don't pretend like you didn't see how many fucking noses were in this run. Make sure that kind of bullshit doesn't happen again. We don't run a DEI chairty or propaganda outlet with these series.

Drama is fine, cliche and pointless drama overly expressed or overly focused on without fruit baring intentions is not.

The passion of the caste was superb but sorely misplaced in nearly every instance.

I don't want to hear any liberal art majors bullshiting about the "dark, gritty, realism" of it. Though the dakr tone was prevelant, there was ultimately zero content that could be held back from younger viewers. It had all the "darkness" of a sad clown in onminous lighting. The "realism" was anything but and came off as total cliche bullshit. As for gritty... a few scuffed up stormtroopers and an unswept set are hardly commendable with such a label. Poor neighboorhoods aren't the quintessential expression of "gritty." Take your underwater basketweaving degrees and find another hobby, because your critiques are as brainless as your are obviously useless to spotting the finer elements of a series or discerning the community's desires.

I want this team holding our investees/beneficiaries to a MUCH higher standard than this.

No, I absolutely don't mind having to follow multiple characters and/or story archs building up to some culmination or fruitfulmess. That's not what this series delivered at all though.

How about you start with the fundamentals. LISTEN to the community. Stop listening to a bunch of beardneck hispters and liberal arts majors. Go to the fucking conventions. Go to where the nerds are discussing conspiracies. Go put your god damned ears amongst the people who ~are emotionally invested in the various genres instead of a bunch of dipshits looking for a paycheck.

is this how lawyers brag, by releasing the minutes?

I know it's tempting to turn your ears to the guy rattling off citations to specific characters and concepts, but you'd be better off turning your ears to those citing the unwritten necessities. Piecing together the lore and telling other what ~had to have happened based on the clues. If they make sense, ask those nerds what stories need to be told, then ask what their favorite parts of the genre are. Then couple that with asking the dorks with handfuls of cash what ~they like about the genere. Don't ask them what they want, just figure out where the cream of the crops are and then use some fucking brainpower to work those elements in. They'll give you money for telling them what they want to see. The nerds will praise you for being intelligent about it and a little fanfare tribute and gratitude. Make the community feel like it's part of the story.

Also, beware not to let the plebs fucking ruin the genre like they ALWAYS DO. Plebs are for milking cash, not for inspiration or input into the established gimmicks.

...and for fuck's sake, take a good look back thorough history when it comes to the adbanced techniques of telling a cohesive fucking story.

>>935801644
>advanced*

This god damned run took a season and a half to kill off a weasley loser that never mattered at all. The viewers should have never been following him, or have to put up with his ungodly annoying mother.

All the elements of potential were present in this run, but it was absolutely, 100% a failure of writting.

Also, rein in the suits. It's fine to tailor a series to draw in a new generation of fans, but NOT at the cost of sacrificing the old fans. Not everything has to be for the fucking children or suitable for the whole family.

The next time faggots start whispering about "dark" elements, think about Beyond The Black Rainbow. If you're not even in the shallows of the same direction, ignore those dipshits. When you talk about "gritty" Think The Crow series. When you wanna talk about "realism" think Training Day.

Brunette is not the new blonde, if you catch my meaning.

Go ahead and talk shit chud, but you're not worth putting on Carbonite. This is my fucking palace... and you're just a wannabe.

Meeting's over.

Feeling a bit bored today... anyone wanna brighten my day? emyriion