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I think you're right but it's not just a torch being passed on. Writing in general became about representation both from the author and in the writing. Look at the many amazing reviews of the writing for the new True Detective series because it was run by a woman and was about women. Or basically any of the many threads we've had about book awards even among those that people acquiesce is well written it also almost always is about something that has an ideological purpose/bent to it.
It's probably harder to identify the good when you have to include a bunch of other conditions on the writing for it to be considered worthy of praise/awards these days. I'm not saying it doesn't exist but even before this became a big part of identifying what is "good art" these days there was a glut of basically everything that no one has time or really care to dig through.
I wonder what happened to ghost writers for movies though. Used to be you'd get people like Tom Stoppard rewriting almost all of Indiana Jones and the Last Crusade, Quentin Tarantino punching up Crimson Tide, Aaron Sorkin rewriting the Rock or even Tony Gilroy and Aaron Sorkin improving Enemy of the State, so even in these popcorn action movies we'd get some quality dialogue. Now, I guess they figured out that it didn't matter or don't care or the writer's that would be ghostwriting are just making indies? It's a mystery but I think it's why modern action movies often feel soulless compared to older ones because they don't ever bother to try to improve them. Or more likely people don't care about the difference, say what you want about Joss Whedon but there is a stark difference between his writing and someone aping his writing but I'm sure most people don't care to notice the difference. A large portion of people like Fallout 3 better than New Vegas and can't even understand how the writing is any different. And most people who are into "good" writing don't care about making things that are pulpy better they want Disco Elysium they don't want the next God of War to be written like that or even care if it's rewritten by a better writer just to make the dialogue better. I wonder if anyone who likes an action movie that was rewritten several times to get the script in a better state could ever identify that they liked that movie because of the writing, anyway?
Yeah, I think there needs to be a kind of environmental momentum, and the critics are part of that. From the critic side I think it's a combination of ideological capture plus the poptimism movement which I think is actually the worse offender in terms of lowering standards.
And yeah your thoughts on punch ups makes a lot of sense to me. My imagination just tells me no one wants to say no to the writers room, everyone just wants to flatter each other and avoid confrontation, that kind of thing, that seems to be the attitude in the air these days.
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