TV’s Golden Age tanked long before Succession. The rise of the streamers during peak pandemic was the embodiment of the decline just with more money, like the Marvelizing of movies. Netflix starting around the time they released Sense 8 went full steam ahead releasing mountains of mediocrities. Prime and HBO followed suit …
TV’s Golden Age tanked long before Succession. The rise of the streamers during peak pandemic was the embodiment of the decline just with more money, like the Marvelizing of movies. Netflix starting around the time they released Sense 8 went full steam ahead releasing mountains of mediocrities. Prime and HBO followed suit with forgettable but critically heralded fare such as Mozart in the Jungle or Transed.
While buoyed by a pandemic captive audience the rot had set in. Millions binged watched their way through countless shows that consistently after episode three or four would peter out. There were a few bright spots that held out promises of better things to come such as Black Mirror or The Terror. But the crap machine was in high gear cranking out one forgettable tome after another.
Then the unexpected happen. People began to venture out of their houses as the pandemic waned taking their attention spans with them. Compounding the streamer’s woes was the post George Floyd “Great Awokening” of all media giants. This gave us a historically incoherent black Anne Boleyn and Estella and girls who skateboarded in Betty, despite being uninteresting and not good at it. But hey, they were multi ethnic and girls. The crowning achievement was Anna Duvernay’s revisionist scoldfest, When They See Us. While the shit show that is Ted Lasso’s last season seemed to be written by an AI DEI administrator.
Despite the Awokenings poor ratings, the conglomerates have not let up on the DEI gas. Disney’s commitment to ideological capture, is best embodied in the words of the great Cartman of South Park, “Cast a chick and make her gay.” Be it movie or TV show, the largest entertainment engine has imbued every release with a DEI gesture in cast or script. See Snow Brown and the Seven diverse marginalized misfits. Netflix continually cranks out propaganda like Queens episode of the now magically black Macedonian, “Cleopatra”. They are now in production of casting the great Phoenician ruler descended from what are essentially Lebanese Semites, who at 34 gave Rome a hard time as a 68 year old black man named Denzel Washington. Then of course, the Exorcist reboot features a girl who harbors delusions she’s a guy. At least the demonically possessed were not so confused. Either way, representation for its own sake does not a storyline make.
The decline of TV boils down to the creative desert of bean counters combined with the mendacious rot of DEI. DIE would be a more apt acronym. Streamers hold their viewers in contempt. Taking us for fools, we take our eyeballs and our most precious commodity, time, elsewhere.
TV’s Golden Age
TV’s Golden Age tanked long before Succession. The rise of the streamers during peak pandemic was the embodiment of the decline just with more money, like the Marvelizing of movies. Netflix starting around the time they released Sense 8 went full steam ahead releasing mountains of mediocrities. Prime and HBO followed suit with forgettable but critically heralded fare such as Mozart in the Jungle or Transed.
While buoyed by a pandemic captive audience the rot had set in. Millions binged watched their way through countless shows that consistently after episode three or four would peter out. There were a few bright spots that held out promises of better things to come such as Black Mirror or The Terror. But the crap machine was in high gear cranking out one forgettable tome after another.
Then the unexpected happen. People began to venture out of their houses as the pandemic waned taking their attention spans with them. Compounding the streamer’s woes was the post George Floyd “Great Awokening” of all media giants. This gave us a historically incoherent black Anne Boleyn and Estella and girls who skateboarded in Betty, despite being uninteresting and not good at it. But hey, they were multi ethnic and girls. The crowning achievement was Anna Duvernay’s revisionist scoldfest, When They See Us. While the shit show that is Ted Lasso’s last season seemed to be written by an AI DEI administrator.
Despite the Awokenings poor ratings, the conglomerates have not let up on the DEI gas. Disney’s commitment to ideological capture, is best embodied in the words of the great Cartman of South Park, “Cast a chick and make her gay.” Be it movie or TV show, the largest entertainment engine has imbued every release with a DEI gesture in cast or script. See Snow Brown and the Seven diverse marginalized misfits. Netflix continually cranks out propaganda like Queens episode of the now magically black Macedonian, “Cleopatra”. They are now in production of casting the great Phoenician ruler descended from what are essentially Lebanese Semites, who at 34 gave Rome a hard time as a 68 year old black man named Denzel Washington. Then of course, the Exorcist reboot features a girl who harbors delusions she’s a guy. At least the demonically possessed were not so confused. Either way, representation for its own sake does not a storyline make.
The decline of TV boils down to the creative desert of bean counters combined with the mendacious rot of DEI. DIE would be a more apt acronym. Streamers hold their viewers in contempt. Taking us for fools, we take our eyeballs and our most precious commodity, time, elsewhere.