It is impossible to realize the present situation of a broad fantastic culture, that is, in its deepest façade sense, without getting to know the ideological foundations of the present state of affairs. This condition is presently highly average for respective reasons. To realize it, you request to see what was successful and what was a failure? What is the avant-garde now, and what is the undoing (NEP) of little degenerate positions?
Not everyone understands that labels endure losses by promoting vocalism. Let's take the War of Idea. He doesn't know what he does erstwhile he publishes material: Is it worth teasing viewers?
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So let us focus on the aspect barely scratched by me: making shareholders a trumpet. Let's say Bezos, Amazon's owner, is behind all this occultism, but spending a 4th of a billion dollars on Ringi of Pala must sale any bullshit to investors that makes sense. If he drowned his money, there'd be another conversation. He wants a revolutionary show, pays and has. People don't like it, but that's their problem. The construction of the Amazon brand as a supplier of cultural works failed. The cost-effectiveness of striming is hard to estimate. That's why I'm writing about the construction of a brand to origin controversy around what is called hostile viewing: people watch the show to mock it. It does not service to build a brand.
At the planning stage, the rate of return from the movie is so ephemeral that this indicator cannot be predicted. I mean, what's it gonna be? If the movie doesn't make a full flop, you can always say it's not so bad. And I'm certain you can't prove that a cool movie would make a lot more money. The investors here are helpless. An example is Star Wars – 5 films led by K. Kennedy. You can't prove they'd make 2-3 billion more if they were good. How? Sometimes good movies I do at the beginning and are appreciated only after years. Blade Runner, for example.
The Marvel phase, however, was successful with the Avengers Endgejms. How do we know that? Not only will the financial results tell us, but besides the next phase: there has been a rash of films and series, mostly weak, preying on the position of the brand. On the another hand, after the release of Skywalker: Rebirth we had a dry run, 1 Mandalorian left and himself had to build his position from scratch. In Star Wars, we have an additional verification factor, or toys. In its time, the full Poland was swamped with Grogusii and Disney Plus was not even legally available at our place. Meanwhile, the marketplace for toys based on skeletons has been squeezed.
The reasons are different as usual, it cannot be said that there is no average inability, but ideology plays a decisive role, and I will focus on it. While they have large freedom to implement ideology at the expense of revenue, why do they choose specified a business line?
The sea stories of the request to simplify do not make sense. In that case, they would make correct and non-existent products (in the kind of Xena and Hercules) alternatively than consciously twisted. It is not possible to justify the GoGaladriela flowing the ocean of influence, or more specifically the full creation of this character, from abandoning the companion to death through the mouthpieces to the inflow. Baginski speaks of American viewers, but he means creators. Let's take the guy who didn't realize Geralt didn't want to pee in the pot, so he went out looking for the outhouse. He realized the witch was peeing in the pot. These guys must have simplified Baginski due to the fact that they don't get it. Do we know the reasons for engaging Graphomanes and giving them a franchise with giant budgets? Didn't Wednesday and Henry Cavill fight for their tv series with the graffiti of writers and scorners? That's the kind of hearing. Ortega (Wednesday) was successful.
* Oh, my God *
The presentation of ideological causes must take time here. We have, for example, the thesis “logic, sense, cause-effect relationships were utilized by men and are a means of maintaining male dominance”.
What are the consequences? We'll start getting nonsense, no cause-effect relationships we can find in Shakespeare, for example. Or Dukaja. Or somewhere. And if you don't like it, they'll tell you you're white privilege and male domination. Kinoholik is even worse due to the fact that he is in the service of male domination. A average female is now a renegade and collaborator in the service of patriarchism. They're gonna pull out a tribe or something whose poesy is nonsense and they're gonna thin on it. They're fighting colonialism. Gusta is not something objectively constant and 1 can number on their structural change, in this peculiar case degeneration.
We've had akin attempts. It started from a year and somewhere so 1946-7 as part of the improvement of Stalinism, erstwhile the permanentized began an ungodly work of rebuilding the mentality of society in general and of a single individual in particular. If this works, the vocal elements will bring financial benefits.
So let's decision on to the examples of the alleged NEP, which is the temporary thaw essential to save the budget. We have positions like Star Trek: unusual fresh Worlds, Mandalorian or even Top Gun: Maverick. Elements happen there, but are withdrawn and reduced. Let's take this Maverick: the cast is decently selected in class but the movie is about the protagonist of Toma Cruise Maverick's erstwhile film, who plays the lead function and is simply a hero working and broadcasting tone. Similarly, in Star Trek Picardia in the 3rd period they broke down and put the old cast on the bridge of Enterprajs and have success. A simple recipe to be applied first had to be fought out by Star Wars and Ghostbusters. The fight against Patriarchism requires the alleged deconstruction, or raging, or destruction. They utilized to smoke churches and execution priests, and now we have phenomena like replacing a male hero by a female hero. Take Luke Skywalker, replaced by Rey.
In the SNW, however, there is Captain Pike, who nevertheless represents leadership qualities, which is unacceptable. We have romances, which is denying the concept of a strong, brave independent, need-free male for nothing. For example, in Peter Pan and Wendy, Wendy's imagination of Wendy's future is loneliness. In SNW, on the another hand, Pike with the captain, La’an loves Kirk, who does not be and does not exist, the Chapel is entangled in Spock, which is simply a tragic relation due to TOS, the first series of Star Trek from 1968. We know she's not gonna be here. Spock is active in his authoritative fiancée. In Orville, it's even worse, Kelly loves Mercer for 3 seasons, a doctor after a love business shot 2 kids who are looking for her father and find Isaac in the work who loves a doctor and is marrying her. Bortus loves Klajden. These are all the motives that are unacceptable today, as, for example, GoGaladriel scanned her husband, Rey does not have a appropriate affair etc.
The Mandalorian is on his way. The hero is simply a man and beats everyone. I mean, anyone who comes along. The 3rd period was led towards his affair with Bo Katan, but something didn't work out and they went back.
* Oh, my God *
Today it is (finally) that a female cannot be anything worse than a man, which gives a comic effect. Yes, it can be erstwhile in a while, but in all single movie it embarrasses. Joan of Arc existed but there was one. Not all second. In SNW, for example, the Chapel beats Klingons but it was built with drugs. Drugs that increase the efficiency and efficiency of the beating. These drugs make us present a phenomenon, not the apparent natural state of affairs.
Dialectics besides requires deconstruction of a sensible male archetype. The strategy is here (must be?) such: The man is right, that is, nonsubjective rightness, and for this reason is destroyed and put under the bar. An example is Poe Dameron in the Last Jedi: his decision to destruct Drednot is clearly correct, but Leia (smacked in this way) pops to him with a face for it. Nonsense, branded by me many times.
* Oh, my God *
Other criteria presently preferred:
A good movie is designed to make “girls power”, to give a field of black culture. Women and black people are expected to influence the film. The past of exploitation is to be and to show the sad reality alternatively than the beautiful diversity that is simply a story. This multiculti is, fresh York 1 where different people live harmoniously and it is wrong. There's got to be something else to compose about.
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And now it's time to enter the realm of prediction, or prediction. Krzysztof M. May brings out various diatras which mark the present planet being and so on. Wrong, due to the fact that they're not criteria. The criteria are now as described above. On this basis, we can easy imagine the perfect production of the future with the following characteristics:
- heroine strong, brave, independent,
- or an old franchise, or based on a writer's work, etc. It is crucial to completely destruct the first sense and turn the tail.
- must be fresh York, or mixed races. *It can't be like in our home, or Negroes live in Africa, we Arabs live in the middle, and there's a spice.
- fighting weak,
- but a female beats everyone, with a weight of 50 kilos she takes off to the king Kongs 120 kg and knocks them down with 1 kick,
- a female cannot have a mentor, must be Mary Sue, with all the consequences. I don't want to make mesusism now, it's been about this 150 times,
- representation, ores turned into body affirmative blacks,
- nonsense, illogical action,
- alleged bitch face, a female jumps out to anyone with a mouth alternatively of acting normally.
- the budget supposedly huge, burned to the ground,
- no love,
- male weak and stupid,
- women say they're based on facts,
The list is open, you can add. And there's nothing to tummy due to the fact that that's the current stage. We besides have a frog heating here, due to the fact that even the more average productions contain these elements, only subdued. But 1 of them will tell you that there is no vocalism, it's just like that. Why did Netflix delete the He Man movie he spent 30 million dollars on? He's a muscle hero, blond with a large sword. They can't save it. And why in Mr. car any 12-year-old feminist pieces? due to the fact that there's an ideological request in production. In the Witch, the witches were originally feminine, or dazzlingly beautiful and magically pumped. The only definition of dazzling beauty is different on the show.
On the another hand, we have Andor and Barbie: Andor's large ecstasy work due to the fact that the main character is the guy, next to him is this old antique dealer guy and they threw in Gollum. And it was enough. Barbie, from what I see, does not contain the key component of the franchise raging. Here we have the Barbie franchise, the hero is Barbie and where is she switched from man to woman? There isn't.
The question remains: why do media companies do this?
Links:
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