So last night was the 97th Oscars. Now, of course, I didn’t watch them. I’m too old to waste several hours of my life watching boring awards show drivel about movies that no one in his right mind would actually watch and that’s even if seeing them was free of charge (which they are not). I didn’t watch them but earlier I did hear about some of the best picture contenders. One of them was the impossibly bad and unthinkably stupid “Emilia Pérez” which I mocked mercilessly in a post based on the movie trailer. Another leading contender “The Brutalist” was a 3.5-hour epic about an immigrant architect from 1930s Hungary which includes the male protagonist being raped by his boss. And a case could be made that wasn’t the worst part of the movie. Matt Walsh reviewed it here so I was spared the horror of even watching the trailer. And I hear the best picture winner was a movie called “Anora” which was about a sex worker that apparently contained a good 45 minutes of something resembling pornography. Wow.
And so there we are for Hollywood 2025. The best of the best are movies that no one would go to see and if anything actually entertaining somehow sneaks in then it will be panned by the critics and consigned to anonymity. So that’s the way things have been run for the last fifteen years or so. At this point even the wildly popular fantasy and superhero movies have been forced to conform to racial and gender social justice casting and plot requirements so that all the fun and excitement have been sucked out of them. So, mission accomplished, Hollywood has murdered itself as an entertainment industry. Requiescat in pacem.
Alright, let me try for the good news a bit. Generation Z doesn’t go to the movies. They play video games; they watch movies based on the video games they like. And these movies about video games are written by “influencers” that play the same video games and have literally millions of young people following them on-line. In other words, Netflix or some other media company will provide resources to an influencer to make a movie based on the fact that a guaranteed audience in the millions already exists for this product.
As an example, there is a guy on-line who reviews movies. He calls himself “The Critical Drinker.” He has 2.24 million subscribers and who knows how many casual watchers for his review videos. He is also an author of suspense and espionage novels. And because of his following (which is not particularly large as influencers go) he recently had a short movie made from one of his stories. Now I’ve only watched ten minutes or so of this video but looking at the production quality, it’s equal to any of the series of this sort that gets made by Amazon or Netflix or the other studios that are taking away business from the old guard companies in Hollywood. And recently I listened to a podcast where one of my favorite unwoke (meaning normal and entertaining) urban fantasy novelists Larry Correia was talking about these very things with The Critical Drinker. And putting two and two together I’m guessing that people on my side of the political divide are thinking it might finally be possible to get movies made without the gatekeepers poisoning them or just plain stopping them as they’ve always done up till now.
Now, I’m not a Pollyanna. A lot of the stuff that the kids watch is pretty goofy stuff. The storytelling isn’t Dostoevsky. In fact, it isn’t even Mickey Spillane. But that’s alright. You have to start somewhere. The main thing is a pipeline has to be established where an audience and a creative type can trade money for entertainment without the woke gatekeepers controlling everything. And that’s what I think is already beginning to happen. Sure, it’ll start at the level of video game fan fiction. But that’s no different from the pulp novels and the early movies like Buck Rogers and Flash Gordon. From such humble beginnings can come much better work.
Now, will I live to see anything worthwhile come of this? Stay tuned and I’ll let you know.