By Joshua Tyler | Published
Modern entertainment has only two tones. There were more nuances, but now we live in a two -color world of entertainment.
If you want proof, look no further than the third season of Star Trek: Strange new worlds. These are the first four episodes of the season …
- Episode 1: A darker and more sharp version of Star Trek: The next generation “The best of both worlds.
- Episode 2: A more silly version and more camping the original episode of Star Trek “The Squire of Gothos”.
- Episode 3: A dark and upset standard horror story.
- Episode 4: A more stupid version of Star Trek: The next generation Episodes of Dixon Hill Holodeck.
You probably read these descriptions and assume that the lack of creativity is the problem, because the four episodes are essentially overhaul of ideas that we have already seen on Star Trek or in other things. This is a problem, but there is an even greater tone: tone.
Each week, the show moves wildly between one of the two extreme tones: either babies are eating people from the interior, or there is a musical number on the bridge. There is nothing between the two.
What is worse is that none of the two corresponds to Star Trek, which was a serious and thoughtful spectacle with light moments. It was like that Every week. It was not a horror show for a week and a all-mari Snl Parody of himself the next one (something that really happens in season 4).
There was this common ground, and it was in this common ground that all the best stories were told. They were told in this way because a more serious but light central tone is something with which your audience can connect. This atmosphere is the atmosphere of real life.
Klingon boys groups do not have the atmosphere of real life. These are just glasses. Zombies too and wacky wedding fantasies and almost everything Star Trek: Strange new worlds Made, at each end of the two very childish specters in which it operates.
Star Trek is not the only property to have this problem. He also killed Marvel, who got so lost in meta-hullates that people have stopped paying attention or buried in granular stories about gangsters that nobody cares.
That’s why The Fantastic Four has received so much positive attention that people make it or not. Tonally, it exists in this happy medium of serious but not serious. He succeeds while delivering a retro atmosphere from the 1950s, which is quite an accomplishment. This could easily have embarked on a tribute to the Lycée theater club in John Waters, but this is never the case.
If you are wondering why it happens, it is quite obvious: it is easier to write two -dimensional caricatures than stories that connect with people at a deeper level. Hollywood has a serious writing talent problem.
When your writers are hacks, they cannot make nuances. Instead, they decrease their lack of creativity by pushing existing stories to wild extremes. It is less obvious than you snatch an episode of PG TV as “the best of both worlds” when there is pulverizing blood everywhere in the room.
Without good writing, you find yourself stuck in a world of two -color entertainment. Until Hollywood returns to the hiring of writers according to merit, nothing will change.
