The Corporate Period in the Arts, part 5 – The Corporate IP Death Cycle

The Corporate I.P. Death Cycle The decline of creative industries has given rise to what I call the “Corporate I.P. Death Cycle,” wherein corporations routinely resurrect their nostalgic franchise properties to return them to relevance and profitability. I.P., in this case, means “Intellectual Property” and composes the copyrighted works and rights to derivative works, as well as trademarks. Like real property, intellectual property is expected to generate a return in the form of rents or other products for sale. A movie or similar entertainment product is not viewed by the corporation that produced it as a work of art existing…

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The Corporate Period in the Arts, part 4 – Cultural Ground Zero

Cultural Ground Zero If you aren’t familiar with the concept of cultural ground zero (a term I owe to authors JD Cowan and Brian Niemeier), it is the idea that the major entertainment industries reached a zenith, and after this, quality began to decrease, and all trends lost their forward momentum. The exact year is 1997, in case you were wondering, though the video game industry continued to progress for another ten years on the back of new technology and industry growth, reaching its own ground zero in 2007. For most media, 1997 was the last year consumers could reasonably…

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The Corporate Period in the Arts, part 3

Popular Art “Popular culture” as a term is nearly a tautology; it follows that if we share a common culture, the elements that make up that shared culture are popular. In use, “pop culture” refers to the art that, in the free market, gains ascendency to the point where knowledge of it becomes part of the common culture. This idea only has meaning in contrast to other origins of culture—constructs such as “high culture,” “fine art,” “literary fiction,” and my favorite tautology, “art music.” These later ideas are defined primarily by not being popular culture and, therefore, in an unfortunate…

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A Propagandized View of War

A viewer asked me about Starship Troopers on Saturday’s stream. I’ve done several videos on the book and movie, and written at least one article about it, but it keeps coming up. That’s probably the power of Heinlein’s ideas, but again, I want to push back a bit. Before that, let me sum up: Starship Troopers (the book) is known for its ideas. There’s not much story there, and I don’t care for it as a result. It’s not a great story by Heinlein. Lots of the ideas are in pop culture, primarily “power armor” and the “bug hunt.” But…

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Matrix Resurrections: What’s the Point?

If Alien: Resurrection is any indication, a sequel (part 4, no less) in any franchise with the word “resurrection” in the title will surely be a letdown; Matrix: Resurrections is a dud. So, what about Matrix 4 makes it so underwhelming? There are lots of things, but in broad strokes: The movie couldn’t decide what it was about It was relentlessly self-referential to the point of parody. It even makes fun of the fact that the film itself doesn’t know what it is about The motivations and goals of most of the players in the plot are unclear. The big…

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Wheel of Time, Episode 1 Analysis

Before I begin, let me say that my expectations for this show were low, simply because it is the year 2021, but also because the author of the source is now dead and the production is being funded by Amazon. I wouldn’t have bothered watching had my subscribers not specifically asked me to watch and review it, and were I not a fantasy author myself. I’ve read the Wheel of Time book series. It’s not my favorite, and I think some of the middle books are among the worst I’ve read, but I have a lot of affection for the…

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The Problems with Letting Hollywood Adapt Books

Problem 1 – The producers and executives don’t really WANT to adapt anything. Rather, they adapt things because they already have a proven track record, making production simpler and less of a gamble. Twilight was a huge hit, so of course, a movie adaptation will also be a huge hit. The studio is most interested in making a movie that people will watch, not making a faithful adaptation of a book (or anything else). Problem 2 – The creatives who work on the films don’t really WANT to adapt anything, either. They want to make their own vision, with their…

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Dune 2021 – Review

I gave up on seeing a faithful adaptation of Frank Herbert’s immensely popular Dune years ago. The way Herbert constructs the book and strange worldbuilding and philosophy that underpins the entire series make it, I believe, unfilmable. That conclusion hasn’t stopped the many fans of the book and the universe from clamoring for another visual adaptation, and so in 2021, we finally got a big-budget film of Dune directed by Denis Villeneuve (who also directed Blade Runner 2049, which I still have no plans ever to watch). Sort of. What was released this week was part 1 of, I presume,…

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Adaptations

It’s not hard, or at least, it shouldn’t be when you have 100 million + dollars to fling around. So why so much failure? Because “Hollywood,” as the collection of producers etc. that run the business, doesn’t care a lick about the stories that they adapt. They adapt things like books and movies for two reasons: There is already a built-in fanbase (in other words, some guarantee on a return on investment). The key elements of the story have already been filtered in the free market to have wide appeal. In other words, the book was already successful, so a…

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The Coming Creative Boom

The Corona-Chan quarantine might bless us with a baby boom, but it will also bless us with a creative boom, and in the “right” direction. Hollywood has had to halt its productions. They might lose 20 billion dollars. They’ve put their feature movies onto streaming platforms, just so that they get seen and the brands can maintain some value. Hollywood and its giant apparatus represents the last remaining tower, however dark and menacing, of the corporate period in art. It takes lots of money and lots of people to make art on that scale, and virus is a perfect menace…

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