I explain that the reception of a particular cultural product is tied to a specific set of cultural, social, and political forces. Your reply - "Oh yeah? What about all these different cultural products that aren't tied to those forces?"
It's incredibly funny that you brought up Gunn. The supposedly powerless "blow hards yapping on Twitter and YouTube" GOT GUNN FIRED FROM A BLOCKBUSTER FRANCHISE for explicitly political reasons. No, they didn't come after Peace Maker very hard - because Peace Maker (an excellent show) was an incredibly niche program with a white male protagonist aimed very firmly at adults. Depending on its content, they are very likely to come after his Superman.
But they won't come after it as hard as they come after Disney products like Star Wars. The current panic, which began to explode in the second half of 2020 for various reasons we can't discuss here, is focused on terror over an inability to reproduce a certain ideology in the young. That's why the target is teachers, libraries, colleges... and Disney. The quality of the content is largely immaterial - the attacks on Acolyte began long before the program debuted. Look at this thread.
Given the events of the last decade, the idea that "blow hards yapping on Twitter and YouTube" are a meaningless sideshow is shockingly naïve. Those "blow hards" played a major part in the most dramatic social realignment in well over half a century. I understand that acknowledging that opens up some very uncomfortable realizations, but... its time to get uncomfortable.
It's amusing how you frame the reception of cultural products solely through a political lens. Sure, external factors exist, but they don't absolve creators from delivering a compelling story. Your insistence that these "blow hards" on social media hold so much sway over a show's success is a convenient way to dodge the real issue: the content itself.
Look at James Gunn's situation. Yes, he faced backlash, but he came back strong with "Peacemaker," a show that resonated because of its quality, not its politics. The fear of political backlash didn't stop it from being well-received. The focus on cultural forces is an excuse to avoid the fear of not delivering a great story.
The panic you're talking about, this supposed war on Disney, is just noise. The attacks on "The Acolyte" started before it even debuted because people are skeptical about the story's potential. If the content is good, it will stand out, regardless of the political climate.
Kathleen Kennedy is in charge of Lucasfilm, and the responsibility for Star Wars' missteps falls on her shoulders. It's not about some grand political conspiracy; it's about failing to consistently deliver strong narratives. Blaming outside influences is just a distraction from the real debate about creative accountability.
The idea that social media "blow hards" control the fate of franchises is naive. Yes, they make noise, but in the end, it's the quality of the content that prevails. If studios focus on crafting compelling stories, they will rise above any political rhetoric. Let's not hide behind the algorithm's influence; instead, let's recognize that delivering great content is the true challenge.
When I mention the algorithm’s influence, I’m talking about how social media platforms use algorithms to shape what content we see and engage with. These algorithms track our interests and interactions, creating a feedback loop that reinforces our biases. As we consume certain types of content, the algorithm shows us more of the same, amplifying specific viewpoints and making it seem like certain criticisms or praises are more prevalent than they might be in reality.
This means that the backlash or support we see for shows like Star Wars can be exaggerated by the algorithm. The vocal critics or supporters online are part of a curated experience shaped by these algorithms, which can give the impression of a larger movement or backlash than actually exists.
In reality, it’s the quality of the content that cuts through this noise. A compelling story will always find its audience, regardless of the algorithm. So, instead of blaming external factors and political forces, the focus should be on delivering narratives that resonate with viewers. That’s what ultimately determines success.
