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Notes -
A couple of small revelations on what the poor story construction in blockbuster movies reveals about the zeitgeist.
It seems to me that major movies released in recent decades have bifurcated in scope. At one end, you have character-driven drama set in a household or small town where the budget mostly goes to A-list actors looking to win awards. At the other, you have epic visual spectacles with tons of international locations or even extraterrestrial or extra-dimensional. This could be me finding patterns where none exists, but it seem rational for producers to pick a side: if you want to sell on the intricacies of human relationships, you can do that on a smaller budget; if you want to sell on big explosions and special effects, then you might as well make the story scope expansive and perhaps ridiculous anyway. Ergo, don't worry about realism, just put it in the trailer that if the heroes don't win, then humanity is doomed!
But when story premises grow too big, they necessarily rope in politics and geopolitics, except most movie writers really suck at writing either. I'm going to pick a low hanging fruit to make my point--take Captain America: Civil War, with $1B+ in the box office and great reviews. In it, Earth's superheroes split into two teams, with one wanting to be supervised by the UN and the other refusing the leash. I think it's a fun watch, but its expansive scope rests on a ridiculous understanding and/or portrait of how the world actually works. Without going too deep into it:
Normally, we go into movies with a willing suspension of disbelief. But there is a difference between accepting that infinity stones exist and that half of the avengers are cast out as criminals by the UN. I think it's partly the uncanny valley--either you make the premise obviously fantasy, or you do a good job of making it seem realistic, and partly it's like Sanderson's laws of magic, which really is about having internal consistency--I can accept a fictional world where partisan politics and multipolarity do not exist, hence you get 98-1 Senate votes and 117 countries (presumably including every country that actually matters) coming to agreement, but then you can't also ask me to emotionally buy into the idea that in such a world, I should genuinely fear the secretive Nazi organizations and ultracorrupt politicians and amoral killer CEOs. I mean, is this a utopia or not?!
But evidently most people don't care about this. So maybe the writers simply are illiterate when it comes to politics and geopolitics, but more likely seems to be that they aren't incentivized to try very hard given the paying audience doesn't appear to mind. The third, slightly tin-foil-hat possibility is that it's a very intentional propaganda--to all the teenagers watching superhero movies, it's better if 117 countries vote for a UN panel to be in charge of real power.
Another thought: it's really rather lame that so many conflicts in movies come down to good and otherwise competent people acting excessively emotionally in pivotal moments. Once again in CA:CW, the climactic fight involves Cap fighting Iron Man because the latter learns that his parents were murdered by Cap's friend Bucky when he was under brainwash control. Set aside how ridiculous this convoluted plot was on the villain (how did he know Cap and Iron Man would both end up in the arctic facility together), if the good guys just paused for a min to talk it out, there would be no reason to fight, but then the writers would have to work harder to conjure up a reason for a civil war.
To me, a much more satisfying conflict among good guys would be for good people to fight over complex issues and/or ideological divides, and do so rationally rather than emotionally. But this is politically and culturally impossible, because you'd have to believe that there are good people on both sides (TM). Instead, we end up with good people fighting not over actual reason, but over stupid miscommunications or stupid emotions, because "obviously" good people must agree that there is fundamentally only one righteous ideology, with a consensus so strong that there is no reason to debate over it.
I'd indeed agree that poor political framing is deliberate because it minimizes people getting their feelings hurt and maximizes profits and audience (most of the time; you still have things like "Don't Look Up"). Imagine if Captain America Civil War actually included a more potent anti-UN arguments. You'd get a lot of negative news coverage, distracting from "Spiderman shows up and fights . Is this corporate greed and cowardice, or is it something more particular to the screenwriters and directors? Probably both, but I actually think the people themselves (whether you think this is corporate capture or not is a separate question) are choosing to enforce these hedges. Like many movies with fantastical/superpower/supernatural/advanced sci-fi elements, it's a work of fiction and escapism and spectacle, and the hard part is finding the right balance between these things. Which is actually hard. For example a too-grounded superhero film can exist (Logan maybe?) but requires much more character work, and risks boredom if it fails. A too-much-CGI film can flop, even if the CGI is good, because on some level it strays too far. Oh, but wait, if it's sci-fi, you can get weird again, but wait, you still have to anthropomorphize things to a certain extent, and you still can't get too weird or it sounds like bad writing even if there is an interesting deeper meaning. Hard to pull off. At some point "vibe" starts to matter which goes beyond just the script itself. District 9 is perhaps one of the few, very few, sci-fi films that successfully marries weirdness with actual groundedness.
I actually think the middle fight scene in Civil War at the airport is a great case in point. We go into Civil War excited for some Captain America as a character, and we know he will work at solving some mostly-solvable problem. We go in excited to see Spider-Man and Cap fight it out. We go in curious what might happen with conflict between "good guys". Fans might be wondering about the aftermath of the whole Hydra thing from Winter Soldier and other plot points. We get this! In the airport scene, we also clearly get the violence pulled back. Anytime it gets too real especially in the side cast, we get a joke, but one that's usually topical enough it doesn't feel like a total distraction (though it actually is). It is entertaining, and it mostly works. We already have accepted that kids are a prime audience for the movie. In fact, making things kid-friendly is probably part of it. Nothing exactly forbids a kids movie from discussing real-life, difficult questions, but it's harder to pull off, harder to market, and if we're being honest kids don't generally want too-hard questions in their movies. That's an adult thing. So an R-rating is an crude and easy proxy for adults to pay attention, even if it isn't strictly necessary.
I agree that personally, I find conflicts in fiction without clear good-bad divides and more than 2 factions incredibly enjoyable on average. I do wish there were a bit more of it. But also ask yourself, have you ever shied away from watching a movie because it was too explicitly political? Even if it didn't line up exactly with current attitudes or parties? I think that experience is more common than many movie-goers would let on.
I do circle back to District 9, actually, as an example of what I assume you want more of. Have you seen it? How did you feel about it? Can you think of similar others? The only ones that spring to mind are maybe things like Minority Report, Children of Men, V for Vendetta, maaaybe Dune 2.
I definitely agree with this. Especially for franchise films, they want a simple non controversial film that nobody in the audience can find a reason to dislike. It’s one reason I’m mostly over big franchise movies and TV — they’re so busy protecting their brand that they’re mostly bland and boring with very few things that are difficult to understand or too political. Making people think often means some in the audience might get confused (even more likely with the international audience) and if you say something political (outside of DEI inclusion) you run the risk that someone in the audience might disagree which would mean that person will not be there for Big Franchise: Subtitle. Most of them have become so overtaken by corporate that they’re paint by numbers, cohesive stories, good actors, or realistic fights be damned. They’re McDonald’s or Burger King at this point, and you won’t find anything that has a strong taste because there’s a chance someone might dislike the taste.
This is a huge parenthetical. They're definitely alienating people with the way they're doing this, consciously. And it's not just about the inclusion, it's about the very intense way in which they're doing that inclusion and how communicating the right message flows through everything that gets made.
I think there's a lot of paint-by-numbers going on, but I'd remind you that the most controversial movie of the past decade was almost certainly The Last Jedi, which famously had an auteur who deliberately made unexpected, confusing, and ✨subversive✨ choices that alienated people and damaged the brand. There's a lot of both going on; the only constant is DEI.
At this point, subversive isn’t even really subversive because it’s almost a trope. If there’s a single set of heroes or archetypes that haven’t been “subverted” by now I’m not really aware. The subversive thing for the modern deconstructed media landscape is actually playing it straight, having a hero who’s actually a decent guy and a villain who’s actually bad and actually doesn’t have a point to make, and a plot that actually makes sense.
Watch some anime.
A recent example I'm thinking of is Frieren, where - minor spoilers - it turned out that the demons actually were bad. That is, the story didn't follow the "what if the bad guys were actually good and the good guys were actually bad" subversion seen in, for example, every single webcomic that ever included an orc and/or goblin: instead of being different-looking people wrongly oppressed for looking different by the retrograde powers-that-be, they are actually inhuman predators who exploit the former mode of thinking.
On some more-progressive corners of the internet (I saw kerfuffles in threads on RPG.net and SomethingAwful) this made (a minority of) people upset for being a racist idea. Racist against what group, exactly? Well, it wasn't that: it was just that the idea of irreconcilable differences existing between groups that could (apparently) communicate with each other was too dangerous to be entertained at all.
I think that betrayed a weakness of faith in anti-racism on the part of the people who said that. Frieren demons are clearly unlike any real-world humans, and thus their example should be a positive thought-experiment for coexistence in our world. One thing I like about fantasy and science fiction and so forth is its utility as a lens upon our own world: it lets us consider what things would be like if something we believe is true were different. What would things look like then? If they're necessarily obviously different, then perhaps your beliefs have stood the test. If the result seems more like reality than your understanding of the real world does - then perhaps you've learned something, too.
A lot of people are unable to consume media in this way. If a piece of media says something is true in this fictional hypothetical that wildly diverges from out world, they are trying to say it is also true in our world. So, Starship Troopers a story about a united humanity fighting against literal bugs is really promoting racism and white supremacy in our world, despite it's protagonist being Filipino.
It's similar to people who argue against the hypothetical in thought experiments. They seem to believe worlds in which their current politics fail just can't exist and anyone who would think up such a world only does so to push evil beliefs in the here and now.
In the defense of midwits, people who argue against the hypothetical intuitively sense that the other party is trying to convince them of something, and that is always unambiguously suspect, so it's better not to give the other party an inch.
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