Why are 99% of all networks oblivious to what people want?

I'm genuinely curious why can't they just look up some nigger's pilot for some show that could go somewhere, Im pretty sure they would happily oblige and then offer to give head to the person giving them that deal.

What DO the kids want?

What I'm trying to understand is why most companies straight up won't accept pitches from any random asshole. Instead they, more often than not, pick up pitches from within their ranks, or in a rare occasion pick up a pilot from an animation studio once the studio's either done work for them, or once the studio's made a name for themself. Looking at and deliberating over pitches doesn't do any harm. Most major corporations have the income to have a board of people look over this shit as well, so I'm not seeing any excuses other than people not wanting to slosh through the amount of shit and cookie cutter pitches that would come in.

Also why the fuck is literally everything based in California

Also how on earth can any network justify pulling the plug on a show after the first season unless the product was genuine power shit? It's like they either gotta kill it before it has the chance to live out it's potential, or keep it on life support decades after it should be long dead.

They know what people like, they just need to make enough money in order to keep themselves afloat, so all of those shitty shows you see reruns for are what's making them money.

Another thing to mention, usually only friends of friends get the chance to pitch an idea for a show, because they usually have worked on another successful show, and their ideas are less risky to start production on. Sometimes though, just because a person's worked on something popular, doesn't mean that they have the creative ability to match it.

They know what people want.
They're only interested in what people want AND is cheap to make, with an emphasis on the latter.

This

It's not exactly like Sup Forums has had a solid record for backing shows that are profitable and popular. Hell, most people on Sup Forums fucking hate TTGO, basically the only thing keeping CN alive.

They're mostly based in California for the same reason that Movies and Live action TV shows are based in California. That's just the location that had the most amount of people who knew what they were doing, and where the most established studio buildings were built. Over time, that stuff just snowballs.

That really doesn't explain when networks expend what's obviously assloads of money for a show they don't bother promoting or making merch for though

Which seems to happen more frequently than it should, especially with Disney as of late

The shows aren't being made for you, autist, they're being made for kids.

Deal with it you CWC tier faggot.

It's actually pretty infuriating because I have a combo irrational and rational hatred of Cali but want to settle into the industry since it's the only skill I can put to any use that's not something like food service

You suck at what you do, nobody wants to watch what you produce. Get over it.

Incorrect. They are being made for kids AND autists, user. Just who do you think are the ones willing to spend their life's earnings on shitty vinyl figures and officially licensed graphic tees?

Nigger I don't want to produce anything original I want to help other autists push their shitty animated agendas by being a cog in the machine. Not everyone has that level of entitlement.

Nick is in New York and CN is in Atlanta

>What I'm trying to understand is why most companies straight up won't accept pitches from any random asshole

You mean why don't they accept unsolicited scripts?

Simple. If you accept unsolicited work, you not only have the gargantuan task of sifting through the shit for the possibly worthwhile items - which may be one every few thousand, so imagine how many readers you'd need to employ just to get to that - you're also opening yourself up to legal action literally every time you do produce something that someone thinks was based on their work.

I mean, that's something that happens anyway. To every production. And it's easy to get these cases dismissed if you have a clear-cut no-sub policy where you don't accept spec scripts and you return or destroy them unread. You can point to the contractor you employ to ensure this policy is enforced. You can point to your long history of only ever hiring writers through their reps. You can get on with your actual job, which is making tv shows, because nobody has to care that some prick from the middle of fucking nowhere had an idea for like a show where there's this dude and this other dude and shit, and it's totally like this show you make so you must have ripped them off, dude.

That's why not. Because it's incredibly expensive, incredibly time-consuming, and it's just not rewarding. The last big show I can think of doing that was Star Trek, and they stopped accepting unsolicited work in the early 90s when it became apparent that it wasn't just the fans sending them scripts any more - they'd only had the policy so far as I know because they trusted the fans to be responsible and respectful. Guess what, you can't trust anybody to be responsible.

The wider problem is that even if you think you know what your audience will watch, and what they'll buy from the ads that pay for it, you usually have to put out dozens of pilots a year to find a few that will last more than a season. Because

Dang, alright that makes more sense. It's kind of a shame how easily something with good intentions can turn into some huge legal disaster just because someone figured whatever generic garbage they came up with was 100% their idea and no one of the 7bil other people on the planet could possible come up with the same or similar idea.

Thanks for taking the time to clarify for me.

Their animation studios are in other states though, aren't they? I'm at least 90% sure CN's production studios are in Florida and California, while the main corporate building is in Atlanta.

Because you need to think like a corporation.

If you were in charge of a multi-million dollar company, would you take risks or stick to shit that you know already works?

There's a difference in what people SAY that they want, and what they actually respond to.
This goes for everything, whether it's entertainment, lifestyles, or people they're attracted to.
People are stupid.

CN makes a bunch of stuff in Atlanta.
Tangentially related, pretty much all adult swim stuff is produced in Georgia.

Besides, where they produce stuff isn't where they decide what to produce, it's the corporate headquarters that does that.

Tv industry is pretty cutthroat and full of mean motherfuckers. They gotta do what they can to make money.

...

Kids want loud, colorful slapstick. Doesn't need to be stretch n squash slapstick, just people getting hit. They don't want deep lore, relationships, sweet heartwarming moments, musical segments with a ukelele plays about how much they're in grief, clever comebacks, dialogue-driven humor, anime references, or scenes with characters constantly crying.

A show CAN have most, if not all, of that and be popular, but it needs to be dominated by loud, colorful, and slapstick. It's why Adventure Time started to lose ratings when it catered to teens and stopped being about A KID WHO SHOUTS WHILE PUNCHING WITCHHHHESSS! Or why Harvey Beaks was never as popular as Loud House: Too much sweet, not enough slapstick. It's why Breadwinners gets picked up over The Modifyers.

It's why TTG triumphs over Bare Bears even though they both have a ton of dialogue driven jokes: TTG has way more slapstick. Bare Bears is dry. Gravity Falls had a ton of characters getting hit comically, SHOUTING!!!, and bright colors and managed to be good, so it's not impossible. Just think of most of the popular 90's shows that were around and you can boil them down to people yelling in funny ways, getting hit, and bright colors:
>Dexter's Lab
>PPG
>Rocko
>Ren & Stimpy
>Johnny Bravo
>Courage
>EEnE
and then later, Fairly Oddparents + Spongebob.

Yeah these shows had OTHER things going on, but the "sweet moments" didn't dominate PPG. The clever dialogue wasn't the main source of humor in Dexter. Even Animaniacs made sure to have more slapstick than dialogue jokes. And yeah, there was the occasional oddball, like Doug or Rugrats, which was successful, but that was back when people watched TV and could take a chance because ratings were good instead now where networks are losing hard to streaming services and don't know what the fuck to do.

It's not a guaranteed formula, especially if you're on a nobody network (DisneyXD) or your schedule keeps getting fucked around with (All of them).

>what people want
You mean what you, who aren't part of the target audience, want.

Sup Forums may shit on xkcd for a lot of things but this comic is 100% correct.