“Why wouldn’t this traumatized 10 year old child rush across an unfamiliar world to immediately become a super-weapon in someone else’s war literally subjective hours after his entire people and culture were destroyed in a super-naturally empowered genocide?”

It reads like they’re trying very hard to justify cutting all the “unimportant” episodes where we slowly have the characters better understand each other and the world was better fleshed out. All so that the new show can be 10 episodes a season.

Remaking things has never appealed to me, I don’t get it, I have the original good thing on my shelf, i will watch it as I want. Your new thing seems like yoy wanted money but didn’t want to risk making something new. Cowardly producers want more money but are so afraid of producing a thing that isn’t instantly popular.

“you were gone for 100 years and war broke out!”

“I see you, I hear you, you’re valid”

lol we gave a narrative compulsion to a character who had a drive that was largely centered around not wanting the responsibility and fear of failure.

They seem to have forgotten that Aang was barely a teenager when he was told “Hey, kiddo, you’re the chosen one!” “So you’ve gotta stop being a kid and be an adult immediately.”

Then later learns that him doing what makes total sense (and is objectively a correct action) as a kid, not wanting to take on the scary responsibilities of adulthood when they’re still literally a child, winds up with everybody/thing he remembers with love and fondness were brutally destroyed.

It is owned by people that don’t understand the source material. I expect your suggestion is impossible to implement.

They have at least 7 producers announced so far for the first season of 8 episodes. There’s an obsession of the Hollywood Gen X nepobabies to always get as many eyes on and hands writing as possible for all content, which invariably makes a good show impossible to create.

Writer’s rooms are often so packed they often have a revolving door of people of writers each writing different episodes at the same time, no longer using smaller writing teams because the production timeline is so tight, but because there literally isn’t enough room for all these writers to be in one space. These teams are no longer just 3-4 writers out of the group, but often over a dozen people. They don’t meet to communicate with the other writers in a large group because how do you have a pitch meeting or a script review with 100 people? You can’t, so you only bring them on for maybe 2 episodes and then they leave.

The new live action Star Trek series are notorious for being pretty bad and for having more writers and producers than they have episodes. Why did Star Trek Picard need over 60 producer/writers to make 30 episodes? (many of whom had so little creative control over the final product that they don’t even get listed on the wikipedia or IMDb page) Why did Discovery have about 90 people writing 65 episodes?

You need some level of consistency on your show and a handful of writers committed to making the content consistent in its narrative tone and storytelling style. The “many hands” model neither makes the work lighter nor produces quality content, yet it remains a foregone conclusion in Hollywood production under Gen X producers.

TL;DR: Too Many Cooks.