I think even if we’re drawn towards sequels and remakes, fundamentally we go to the cinema to see and feel new images. So much of mainstream cinema has become a retreading of tired ground.

Trying to stay competitive with streaming, executives are trying to make larger profits and screenwriting is one way they can cut corners and (temporarily) hide that they cut corners. When an audience looks at a trailer they see the flashy costumes, set design, actors they love, crisp cinematography, or an IP they recognize, but you can't really... See more

Flattened, algorithmically-driven, risk-averse, accounting-based reboot culture continues to win despite the incredible diversity and eagerness of the creator economy and its long tail of choice and representation.

But despite a firehouse of hot takes, nothing much has changed over the years. Perhaps it’s gotten worse ?

In 2024, all of the Top 15... See more

I think a lot of the lack of imagination and originality in TV has come from a devaluing of screenwriting. So much stuff now, especially in streaming TV and Blockbuster filmmaking has the trappings of high production value but absolutely horrible writing. I don’t blame the writers. Good writing takes a lot of time and investment. You can't force it... See more

Consider film and television, an easy target for cultural pessimists, and for good reason. The signs of decay are hard to ignore. If it’s not the slurry of superhero blockbusters, remakes and reboots, then it’s the straight-to-streaming slop. The familiar three-act structure, that is the craft of screenwriting, seems mysteriously missing from even... See more