Why Modern Movies Suck - They're Written By Children

You know, as I sift through the endless river of sludge that passes for

modern

entertainment, every once in a while I come across an unexpected gem shining in the murky depths—like June, for example, which turned out to be a thoughtful, slow-moving, philosophical adaptation of something quite challenging. source material, but one thing that stuck out to me while watching it was sacred, isn't it nice when the characters act like intelligent mature adults who make sensible decisions, control their emotions, and actually take the time to consider their situation instead of ridiculous hyperactive teenagers? Driven by hormones and emotions that adult bodies have somehow inherited, it now seems like some kind of crazy luxury from a bygone era, but it led me to a pretty interesting conclusion about why

modern

movies

suck

more than Tatiana after two cocaine lines.

They're

written

by kids, four kids, or rather people with the intelligence, attention span, and emotional maturity of kids, and this fundamental limitation seeps into everything

they

produce, which is fine if your idea of ​​entertainment It's eating playdough and farting in the bathtub, but for anyone looking for something a little more clever and subtle it's a bit like going to a burlesque show, except all the dancers look like Elizabeth Warren and want to spend the night talking to you about federal tax reform. Anyway, let me enlighten you for the For the purposes of this video, I'm going to mention a few examples from Star Trek over the years.

It's a franchise that's been around longer than most of us have been alive, so it's probably a good reflection of how the writing and character development has changed over the years. Above, let's take a look at 1982's The Wrath of Khan, which is generally considered the best Star Trek film ever made. The basic story is that an elderly Admiral Kirk is given command of the company again when an old enemy hijacks a Federation spaceship and uses it to obtain an apocalyptic weapon that can destroy entire planets along the way, also intending to hand out a bit of old-fashioned revenge against Kirk as payback for stranding him on a barren planet decades earlier, there's a lot going on.

Here in terms of character development, but the central arc of Kirk's story is his struggle with aging, the film begins on his 50th birthday and it's clear he's not exactly thrilled by the fact that he's very much a man. middle-aged man who is now trapped in an unrewarding situation. desk job and facing the realization that his best days may be behind him, McCoy even gives him a pair of reading glasses as a birthday present because he's too proud to admit that his eyesight isn't what it used to be in general, It's a nice universal concept that most people can relate to and empathize with, I mean how many of us are stuck in some boring office job that we don't enjoy, wishing we could live a life of adventure and endless possibilities, how many of us We are getting older and realizing that we can't do the things we used to do and the other younger people are slowly emerging to replace us.

Deep down, we all know it's going to happen sooner or later, even if we prefer not to think about it. Now consider a similar scene that 2016's Star Trek Beyond is a rip-off, I mean it pays homage to it being the same basic setup of Kirk and his friend McCoy celebrating his birthday with a quiet drink and a subdued Kirk sadly reflecting on where he is. find in life. However, the difference here is that this version. Kirk is 36 years old and in command of a starship exploring the galaxy, he is literally in the prime of his life doing the things he enjoys most, he should love every minute of it, but since the movie wants to present him as a reluctant hero who is thinking In moving on to new things, the best he can come up with is projecting the angst of middle-aged Khan's rage onto a character who's in a completely different stage of life doesn't ring true in the slightest. because he's trying to force a situation that can't happen organically now consider the ending of Wrath of Khan with his ship crippled and most of his crew dead.

Khan activates a doomsday device in a last-ditch attempt to take down his enemy with it. The desperate situation forces Spock to sacrifice himself to repair the company's warp core, allowing them to escape the explosion at the cost of his own life. Kirk is forced to watch his best friend die in front of his eyes without being able to help him and it is interesting to watch his reaction. as he realizes, he doesn't scream or scream or lose control, he just collapses to the ground devastated and shocked as the camera slowly zooms out and when it's time to let his friend rest, he delivers the eulogy stiffly but La Stoic composure only wavered once at the ends of all the souls I have encountered on my travels.

Yes, it was the most human reason. Because he is a grown man and is the captain of a spaceship, he is expected to lead by example and stick together in any situation. his personal feelings because that's how professional officers behave and that little moment where his composure slips becomes even more poignant because you know how hard he's trying to hide it. Now let's consider how this same scene plays out in Star Trek into Dark, yes, I think. You start to see the difference here, not only does Kirk's death occur in the middle of a ridiculous action scene with spaceships crashing into cities, buildings collapsing and people dying by the tens of thousands, giving the audience no time to process it. before it quickly falls apart. with a bit of cheap deus ex trifica, but it's also very clear that the characters in anything that passes for modern Star Trek wear their hearts on their sleeves running around like frantic lunatics and emergencies openly discussing personal relationships in front of superior officers and responding with grand emotional outbursts in high-stress situations is a stark contrast to the more mature and restrained characterizations of the previous films.

As another example, consider how characters handle interpersonal conflicts such as in this scene from Star Trek The Undiscovered Country, where it is revealed that due to a major industrial disaster the Klingon Empire is on the brink of collapse and is now making peace overtures. towards the federation, naturally, this causes a huge difference of opinion on how to handle the situation and the tougher officers see this as an opportunity to eliminate their most dangerous enemies. On the other hand, once and for all the most progressive elements want to negotiate an honorable peace rather than corner their opponents and risk a destructive military conflict.

Both perspectives have merit and the script is smart enough to allow them to have their say. before revealing that Kirk had been hand-picked by Spock to lead the diplomatic initiative, naturally he's not happy to have been sent on a mission like this, partly because of his professional distrust of the Klingons, partly because he's an agent commander. who fears the rapidly changing world around him. but also because he has a very personal reason to hate them. David David is dead. All of these elements combine to create a strong and very understandable emotional reaction. You can see how angry he is at his friend by the way he stands on the opposite end. the table keeps a safe distance between them at first it starts with cold accusations but when spock tries to argue his case rationally real emotions start to show don't believe them don't trust them until in the end it all becomes too much and kirk finally shows his true colors They're Dying, Let Them Die is a clever, well-

written

scene that demonstrates the changing dynamic between the two friends and actually paints Kirk in a rather unflattering light without completely destroying him as a character - he's a bigoted old reactionary.

An officer from a different era, afraid of change, still licking old wounds and unable to see past his own prejudices, and yet you absolutely understand why he feels that way, just like the debate during the briefing above, neither part is presented as strictly correct or incorrect. just different perspectives born from different experiences and both are definitely worth listening to, but the most important thing to note here is how the two men actually behave:

they

are controlled, rational and measured, arguing their points effectively and not simply yelling at each other. Yes, definitely, Kirk. He has an emotional interest in this that quickly manifests itself when Spock pressures him, but even then he manages to keep it under control.

Because that's how grown men deal with things. Real men don't go crazy at the slightest provocation or start fighting. and yell at each other when they disagree because losing control like that is not a sign of strength, it is a sign of deep weakness and insecurity weakness of character weakness of self-control and weakness of self-discipline now let's consider how kirk and spock resolve their differences in the new version of star trek for love the last example I want to give you is how the chain of command operates in different eras of star trek in the episode star trek gambit the next generation the captain and first officer of the company They are both out of action, leaving Data to take command of the ship and Warf to act as his first officer.

It's a role reversal for both men, and unfortunately, Wharf doesn't take it too well and openly questions his decisions in front of the bridge crew. eventually this causes the data to summon him to his room ready for a good old fashioned ass kicking like in my previous examples. The best thing about this scene is how restrained and discreet these two characters are: they don't yell at each other or run. to beatings because they don't need to date someone calmly but firmly explain that worf was wrong to interrogate you in front of the crew you continually question my orders in front of the crew I don't think this is appropriate behavior wharf offers justification for your behavior no it's my duty to offer you alternatives and the data lets them know you're not going to fly with it, but once I've made a decision it's your job to carry it out no matter how you feel personally and guess what morph.

He recognizes that he was wrong, apologizes for it, and the two men go back to work without hard feelings. If you overlook this incident, I would like to continue considering you my friend. I would like that too. Imagine two people dealing with Interpersonal Conflict as calm adult professionals, whoever wrote the dialogue for this scene deserves a medal. It's an absolute masterclass in the subtle application of command and authority mixed with the conflict between two friends who have to adapt to a sudden change in roles without even having to consider it. his voice or resorting to data of personal attacks is able to perfectly explain the relationship of mutual support between a captain and his first officer and make it clear that he expects that same level of support from the disrespect of war is not tolerated and in contrast to that consider how the chain of command operates on a show like Star Trek Discovery now move so we can get back to work I would hit the fan well done number one well it's incredibly unbelievable excuse me Incredible, evolution is fickle, am I right?

I'm leaving, I'm moving sir, get up sir, I love how these people are able to say and do whatever they want without repercussions while casually conversing with their commanding officers and generally acting like immature idiots, seriously . The level of discipline and professionalism here is almost the same as that of a liberal arts university. They are like teenagers who have suddenly been put in command of a spaceship without training or preparation. They are impulsive, hyperactive, emotionally unstable, unprofessional, and generally quite incompetent. Absolutely the last people on earth you would trust with your life and they have unfortunately become somewhat of a norm in modern film and television, so why does this keep happening?

What happened to all the adults in the room, from my point of view. There are three different aspects to this answer, the first is simple: money, most effects heavy

movies

are expensive to make now and if your movie doesn't make millions of dollars then you might as well start learning how to code to what you need appeal. as wide an audience as possible, especially the younger demographic, which means lots of action, lots of energy, lots of jokes could be quick dialogue and stories that don't demand too much brainpower, no time to waste, people, come on, come on, the second line is this strange tendency to infantilize modern audiences, carefully shielding them from anything that might be considered difficult, scary or threatening, whetherWhether it's public information videos, commercials, or government announcements, it's all presented in this weird, childish, happy format that looks like the kind of harmless trash you'd show.

For kindergartners, take this US Army recruiting video, for example, Jesus, take a second to think about the type of person this video will appeal to and then imagine how well you would do to that person in a war. The last and probably most important thread is the people hired to actually write this stuff. I've said before that a character is only as smart, capable, and resourceful as the person writing it, and well, you don't need me to tell you that Hollywood creatives these days aren't exactly models of tough, stoic, and confident. self-righteousness, they are the type of people who consider bad tweets to be on par with mass murder;

In fact, most of them have lived the kind of safe, comfortable and protected lives that previous generations could only dream of never experiencing anything resembling hardship, adversity or danger - the kind of things that really strengthen confidence in character self, life experience and generally make you a more interesting capable person in the end. The result of all this is a generation of weak, fragile, spoiled, narcissistic, emotional and insecure writers, completely incapable of handling the adversity, conflict, masculinity or anything that challenges their own self-image, in short, they are basically

children

inhabiting adult bodies and, as a result, lacking them. the experience and maturity needed to write intelligent, confident, capable adult characters, and well, look at the results, it's bad enough for people like me, who still remember what quality writing looks like and now have the dubious pleasure of watching characters mature people who were previously intelligent, bastardized, infantilized and destroyed. but what's even more disheartening is the effect this is having on people who don't have that solid foundation to turn to the ridiculous childish shit that today's writers produce;

It's helping to shape and influence a whole new generation of young moviegoers by changing their perception of what supposedly heroic characters should be and do and if that's the case, I can't wait to see what happens when they come out into the world anyway, That's all I have for today, go now.