Joshua Tyler | publishing
Modern entertainment has only two tones. There used to be more nuances, but now we live in a two-toned entertainment world.
If you want to prove it’s just season 3 Star Trek: A Strange New World. These are the first four episodes of the season…
- Episode 1: A darker, more advanced version of Star Trek: The Next Generation “The best of both worlds.
- Episode 2: The sillier and camping version of the original series “The Gothic Squire” series.
- Episode 3: A dark and edgy standard zombie horror story.
- Episode 4: Sillier version Star Trek: The Next Generation Dixon Hill Holodeck episode.
You might read these descriptions and think that lack of creativity is the problem, because these four episodes are basically a reread of ideas we’ve seen on Star Trek or something. This is a problem, but there is a bigger problem: tone.
Every week, the show changes wildly between one of two extreme tones: Ghosn babies either cannibalize from the inside out or have a music number on the bridge. There is nothing in between.
Worse, neither of these tones fit into Star Trek, which used to be a serious, thoughtful performance and had some bright moments. That’s it weekly. It’s not a week’s horror show, nor is it an all-weather SNL Imitate your own next one (actually Season 4 thing).
There was once this middle position, and it was in this middle position that all the best stories were told. They are told this way because your audience can connect with it, with a more serious and lighter middle tone. This atmosphere is the atmosphere in real life.
The Klingon Boys Band has no real-life atmosphere. They are just glasses. The same goes for zombies and weird wedding fantasies and almost everything Star Trek: A Strange New World At both ends of two very naive spectrums that it runs.
Star Trek is not the only attribute with this problem. It has also been killing miracles, it has been lost in meta-intelligence, people stop paying attention or burying in stories of gangsters that no one cares about.
This is the reason Fantastic Four Whether people realize it or not, they have been receiving such positive attention. From the perspective of color, it exists in a serious but not serious middle position. It was a big achievement when it delivered the 50s retro vibe. It’s easy to radiate to the high school drama club paying tribute to John Waters, but it never happened.
If you’re wondering why this happens, it’s obvious: it’s easier to write a 2D cartoon than a story that connects to a deeper person. Hollywood has a serious writing talent problem.
When your writers are hackers, they won’t be able to make nuances. Instead, they write lack of creativity by pushing existing stories to wild extremes. What’s less obvious is that you’re taking away PG TV shows when blood sprays throughout the room, like “the best of both worlds.”
Without good writing, you end up trapped in a world of entertainment in two tones. Nothing will change until Hollywood returns to the merit-based recruitment writers.
