I have an irrational fear. At least I hope it’s an irrational fear. Nevertheless, I still end up lying around at night thinking about this point and think it is a serious enough phenomenon that it is worthy of discussion.
So here it is: I’m afraid that we live in an age where creativity and the risk-taking that necessarily goes along with it are an endangered species.
My development of this fear didn’t start out as a conscious thought on my part. Rather, it started as the result of a series of three separate factors which, on the face of it, appear to be unrelated to each other. Still…the more I thought about these three discrete things that bothered me, the more I began to see parallels between them and consequently, the more I began to worry.
The Lack of Mainstream Original Movies
The seemingly increasing tendency of studios in the present day and age to remake “the classics” or to engage in an endless string of sequels illustrates a growing lack of creative risk taking at the commercial level. While there are still high-quality original movies being made (largely by independent studios), the prevalence of movies in the above two categories, considered as a share of the total movies being produced and marketed, seems to be increasing relative to the original ones.
I am more than aware that I am generalizing here. And while there are certainly still movies that are excellent and original that hit the mainstream, I’m particularly concerned with the decrease in this content that is being put up for consumption by the masses. The lack of these movies hitting the mainstream, and therefore becoming culturally relevant, is disconcerting.
Now, obviously, my observation of the above is anecdotal at best. However, I think the trend, when viewed in the greater context of television and music programming discussed below, seems to be moving away from rewarding creative risk and originality and instead incentivizing an endless repetition of the same movies and content.
The Movement of Quality Television from Major Networks to Cable
In many respects, the transition of most of the high quality television programming from the major television networks, widely available, to the more exclusive cable networks (HBO, AMC, etc.) also illustrates the above trend.
It used to be in years past that there were television programs on the major networks that garnered huge, broadly-based ratings in the North American market. There was even a term for this – “must see TV.” However, with the arrival of several factors, including the explosion of growth in the internet and an ever-increasing spectrum of entertainment options, the amount of programming on television that is both high-quality and widely popular is diminished.
The end of the era of television shows that achieved “must see TV” status does not signal the end of creativity in television – far from it. Indeed, as I’ve repeatedly mentioned from the outset, the calibre of television programs of all genres is just as high-quality these days as it was ten years ago, twenty years ago, etc, etc. However, the factor that has changed and which needs emphasizing is the location of that programming. Simply put, it’s not on mainstream television – it’s on the more cost-prohibitive private cable channels not widely available to the broad spectrum of North American viewership.
The transition of the locus of the most important and highest quality television from the public cable networks, which arguably comprise the public sphere, to the more private sphere of HBO and other networks like it is an example of what appears to be a broader cultural shift in society. Whether you look at movies, television or even politics, the trend in the present day and age seems to be a persistent shift where the “important content” (well-reasoned and balanced news coverage, quality and intelligent television and dramatic programming, etc) is moving out of the public sphere.
The result is that a typical cable subscriber might have 100 channels at any given time and have literally nothing other than reality television (a race to the bottom if there ever was one) and other mind-numbing fare as a means of entertainment. Now, I am not against The Hills or The Bachelor per se. Nevertheless, the trend I am concerned about is when those programs begin to squeeze out the shows that everyone other than ‘the horde’ enjoys. On this point some might accuse me of living in an ivory tower, and point to the transition in television as nothing more than a democratization of content whereby the great mass of television watchers is voting with their remotes, and that if I don’t like the results, well, I always have HBO.
And to a degree I accept that. However, I cannot help but think that human development in all cultural fields necessarily involves an element of experimentation and creative risk. By catering to the lowest common denominator, network television that chooses to focus on the immediate television demands and wants of the masses not only cheats everyone of higher-quality content, but also cheats those masses of the growth opportunity potentially provided by television.
This seems like a trivial point, but it’s not: television programming and the creative portrayal of characters from Archie Bunker to Mary Tyler Moore were important in terms far beyond mere entertainment – they represented and illustrated social change and progress and played an indelible role in shaping the cultural histories of their respective eras. When movies and television are not longer permitted to take artist and creative risks, everybody loses.
The Seeming Loss of Long-Term Vision in the Music Industry
Towards the end of the 1990s, the music world was awash in talk about the so-called “decades” theory of music. It went something like this: every ten years or so through the 20th century, there was a new development in music that changed things – the British Invasion (50s), Woodstock generation (60s), rock/disco (70s), new wave (80s), grunge (90s), etc, etc. Those categories are pretty broad and there no doubt more complete accounts of the workings of the theory in other places online.
My point is only to illustrate the basic idea of the 10 year pattern, in that every decade or so, something else came along. Then the year 2000 came and…nothing happened. Sure, we still have some descent music come out now and again. Hell, some people would argue that the entirety of the disco era was way worse than the emo-crap we have to endure in the present day and age.
Have we run out of creativity? Clearly not. But maybe that’s not the question to ask. Rather, in light of the above, maybe there’s still creativity out there, but we’re just not giving it a chance?
This begs the question of whether or not the great classic artists of the 20th century – Elvis, Johnny Cash, the Beatles, the Rolling Stones, etc – would have ever gotten their chance in this day in age? For a huge number of the artists we consider today to be “great,” there were sometimes very long periods where nothing great was produced. However, because many of them were either on longer-term record deals or being paid some form of wages by the studios, however minimal, many of them were able to continue on as musicians, and generations of music fans have reaped the benefits.
But in the current age, so much emphasis is placed on factors that have nothing to do with the music, and in a 24-hour news and entertainment cycle, incredible amounts of coverage make the type of ‘toiling in the dark’ of past eras increasingly difficult. How many of the above artists would have survived under modern conditions? Even more distressing, what talented artists are out in the mists toiling away, but unable to land record deals because in the view of some record exec, some 14-year old singing clichés on autotune are what the masses want…what might we be denying ourselves?
In his fantastic book Outliers, Malcolm Gladwell discusses the notion of how people who become great tend to be exposed to what might be described as once-in-a-lifetime opportunities that many of their contemporaries were not. Might the reverse be happening here, in the sense that because there are no opportunities except for that which can cater to the tastes of the plebeian horde (crank that autotune!), those artists that likely are out there will never be heard? If so, it’s a tremendous loss.
At the end of the day, I’m well aware that my fears and argument involve some pretty significant generalizations. Is there quality movies being produced every year? Absolutely. And there’s great music being recorded too, don’t get me wrong on that count either.
Maybe the trend has to do with the fact that human intelligence only has the capacity to create so much, and after a certain point, the advances become more and more incremental. And as such, we shouldn’t expect a new ‘rock-n-roll’ because there really isn’t much new to invent. Instead, we should just accept the fact that going forward the changes in culture will be more subtle than in the past.
Or, conversely, maybe every generation’s examination of the present, loaded with the baggage of yesteryear, sees a decline where others don’t. Either way, it still worries me.