I'm so burnt out by the franchise and the way it's handled that I really couldn't care at the moment what happens. I guess the overall feeling I have is ambivalence. The reboot has been an absolute mess. ‘PNP‘ only seems interested in making Sailor Moon a luxury soft power brand through tie ins with the media as an afterthought.
I do think there are many possibilities to expand the universe but under the current circumstances it just doesn't interest me.
I sometimes feel a bit embarassed to be a fan of the franchise, really, and it seems the general public is more interested in the tie-ins than the media itself. Speaking from a Brazilian perspective, Cosmos has been released with very little fanfarre, no reviews by media outlets and a meagre five mentions of its premiere on Netflix (the trailers and even the tie-ins seem to have garnered more attention).
I just can’t wrap my head around those people. They’re stuck on autopilot, spouting arguments straight out of the 2000s when the myth was that the manga was some legendary shoujo and Naoko was the poor victim of the manga industry, the anime studios, and international distributors who ruined her work by changing character names (including the ones Toei created).
Maybe they've just made it part of their identity and old habits die hard, I guess. It took a really long time for the manga to be published in Brazil (we didn't have smartphones in the 00s and I never felt like reading scanlations in front of my computer), so I only got to read it in the mid 2010s, and I had already heard and read a lot on how greater, grander and richer it was. I was such a disappointment I wasn't able to finish it and only made my way through the manga shortly before the release of Eternal.
The truth is, the only real way Toei and PNP have managed to make any money from the reboot is through the licensing deals they struck with international distributors at a premium price and with Netflix in the case of Eternal and Cosmos. Plus, there was the merchandise for those two, which was limited and very VERY expensive. That’s it.
Then there’s my theory, which I’ve already mentioned here before and got branded as blasphemous for the reason they continued with Crystal, considering it was a flop from the start.
But then, I wonder if international distributors thought the deals were worth the price, or if it was something they just had to accept in order to get the full package (i.e. the 90s anime, the 90s films and, in Netflix's case for Latin America, Eternal and Cosmos).
Anyway, time to search through the forum for your theory, it seems juicy!
Oh my days! What have you done? Poor Salomon. He’s probably getting hounded by those Naoko maniacs right now.
I don't think so, it was a Brazilian group, I don't think they'll be pestering him with insults or something... or so I hope.
Why I understand that some fans on from probably wanted something different.Reality speaking we were always going to get something close to manga.
I really think being close(r) to the manga is the least of the reboot's problems. It didn't have to be a copy of the 90s anime and, as much as people keep repeating it, I doubt most of the 90s fans would reject if it had been made well. Crystal Season III was already received much more warmly than the first two seasons, and it makes a point. If only the reboot had been given a decent budget and showcased decent animation and character designs from the start, if the music wasn't so bland and if it gave even the slightest polishing to the source material instead of reproducing and zooming in on its glaring flaws (break-neck fast pace, lack of characterisation, etc.), it wouldn't have been the disaster it was.