Hey there, readership! This issue, we've decided to change things up a bit here in my corner of the paper. Instead of the more formal Q&A, we're expanding this section into a more generalized editorial format. The idea is to allow for a broader range of topics and a little more freedom for me to wax on whatever seems relevant and fits into the concept of the column. This is just something we're trying, but we're absolutely still open to taking questions and incorporating those in here, too, so by all means, keep those coming. In the meantime...
A friend of mine recently shared with me an Internet rumor alleging that a classic TV series - "The Golden Girls" - was being rebooted with an all-new cast comprised of some old SNL alumni. Aghast, I reactively erupted in a raucous objection to what I viewed as an idea tantamount to blasphemy committed against a sacrosanct entry in the annals of American TV history. Okay, I'm exaggerating a little. It is just a TV series, but come on, some things are just sacred. .
Fortunately, a quick online search squashed the rumor as nothing more than a completely fabricated April Fool's joke. But for those of us who've been keeping tabs on what Hollywood's churning out the past few years, it's hardly surprising why one might initially assume such a rumor to be true.
Reboots and remakes and sequels, oh my! From TV shows to movies to comic books and full-blown franchises, these things are everywhere. Sometimes it feels like that's all that's being made anymore, and looking at the numbers, it appears that's not far from the truth. In 2020, 80% of the most popular movies were sequels, spin-offs, or remakes. To put that into perspective, 20 years ago in the year 2000, only 16% fell into that category. And 2024's slate doesn't look any better.
Of the 50 films announced at the start of the year, 39 are unoriginal works either remade, spun off, or otherwise based off of previously existing IP's. So, what gives? Have producers of mainstream entertainment run out of ideas? Are they devoid of creativity at this point? Or have they just gotten lazy? Perhaps all of the above? Or maybe there's even more to it? (Spoiler alert: there is.)
Yes, all of those things play their part in this, but in addition, there are two other elephants in the room contributing to this downfall of modern entertainment that the mainstream outlets never mention: DEI initiatives, and the infusion of extremist political ideology. With the former having led to people being hired for their innate characteristics as opposed to their ability and the latter prioritizing political messaging over storytelling, properties are being hijacked and used as vehicles to deliver an ideological narrative to audiences via actors who can't act being directed by directors who aren't very good at directing, all filming a picture written by people who are incapable of drafting a compelling story and who are disinterested in doing so even if they could.
So, with all of this working against what would otherwise be known as the creative process, is it any wonder why we see very little in the way of intriguing, original work coming from the mainstream studios and production companies anymore?
What can we do to turn this around, you ask? Well, from the look of the mostly empty cinemas these days, we're already doing it. Keep voting with your dollar, friends. If studios keep losing money on these projects, they're eventually going to have to change and go back to a more lucrative system. Show them that the only way to separate you from your money is to actually make quality movies and shows that entertain and inspire and move us, and that the only way to do that is to hire the most creative, talented people who want to focus on what's important: telling great cinematic stories.
Until next time, keep dodging those duds! See you next issue!
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