Being such a fan of the old versions, I am not sold on the new 'look'. The characters have kept some of their trademark elements such as facial markings and weapons, but now err on the elf-like appearance common to Japanese comic books. The most noticeable difference is the choice to re-envision the characters in the style of Japanese anime, which is of course the popular trend in all cartoons at the moment. This new Thundercats is such an ode to the original that every creative choice they have made is tied into what came before. I would warrant that the show's creators are themselves fans of the 80's version. My plan was to try to review this new series from two separate perspectives as a show on its own, and then as a remake. My review is based on the two-episode long opening chapter - " The Sword Of Omens" and " Ancient Spirits of Evil". Now, in 2011, Warner Bros have decided to reboot the Thundercats for a new generation. Whilst other cartoons like He-Man were cool, they lacked any real change in the characters who were almost the same at the end of the series as they were when it started. Lion-O, physically aged by accident but still with the mindset of a teenager, must learn to be the level-minded ruler of his people. Yet what separated the Thundercats from the other cartoons of the era, from my perspective, was a focus on characters who make mistakes and develop from them. Being a kid of the 80's I was completely sucked in by the advertising gambit and am still paying for it financially all of these years later. Alongside these shows were the heavy marketing of franchise toys. The Thundercats was one of a slew of cartoons released in the 1980's which revolved around good versus evil tales where all problems were eventually resolved through the lead characters' fists, and a side serving of morals such as He-Man, Transformers, Silver Hawks and Voltron. So here I sit, a man obsessed with an aging franchise, balanced on a knife-edge of possibility. Turns out that my wonderful wife is not the fan that I am. I named our cat Lion-O, Lord of the Thundercats, and subsequently lost my next attempt to name our second cat Cheetara. Then, almost as quickly, I was overwhelmed by a dread fear what if one more sacred creation is ruined by the attempt to modernize it? What if the Thundercats becomes another shriveled relic, used, abused and tossed aside in the name of making a quick buck? I am one of those sad sad fanatics who still thinks about and quotes from Thundercats most days of the week. Contact us today to find out more.Rating: 3 When I found out that I had the chance to review a remake of the classic 80's cartoon Thundercats I leapt at it. We provide our partners with extensive SVOD insight to help them drive better and more PST using global tv demand content analytics from Parrot Analytics for Thundercats (2011) in This page has been renewed on May 18, 2023, 2:02 p.m. Japanese Animation), using our globally standardized Demand Expressions® metric. United States, which can then be benchmarked against genre averages (e.g. Once all the signals are weighted and combined, the audience demand for Thundercats (2011), for example, can be assessed for a market e.g. Unlike TV ratings, our DemandRank TV rating system ensures that important demand signals are weighted more heavily than others: The more consumer effort required the more importance is attached to each signal. Parrot Analytics' television demand data highlights the global TV content monetization opportunities for Cartoon Network and thousands of TV studios, linear networks, broadcasters, pay TV providers and OTT / SVOD platforms. With the world’s largest TV audience demand dataset, the company currently tracks more than 1.5B daily expressions of demand in 100 languages, not only in the United States, but also in 100+ other markets around the world to reveal the television content that consumers watch (viewership) and give their attention to the most. Parrot Analytics is the leading global content demand analytics company for the multi-platform business of television. Global TV content analytics for the attention economy
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