How This Climate of TV Reboots and Trashy Programming Is Eroding The Artistry of Originality
The Connors was born out of the desperate need to prevent a disastrous situation from getting much worse. Executives at ABC had a catastrophe on their hands, thanks to the deplorable antics of a newly-minted piggy-bank called Roseanne Barr, whose Blue collar comedic prowess had made her self-titled show a ratings bonanza for over a decade.
It was time to resurrect the good old days, and with a White supremacist in the Oval Office, the timing was perfect to assemble the family with the loud-mouthed matriarch, who thinks all Muslims are terrorists, and that Black women bear a striking resemblance to primates.
That was actually Roseanne Barr who compared an illustrious Black woman, who dutifully served under the Obama administration, to an ape. And that ill-fated tweet got her fired from the ambitious reboot of her show, which expectedly yielded magnificent returns as soon the highly-anticipated premiere was unleashed.
The abrupt departure of Roseanne from Roseanne was the only way to sufficiently punish her for the public share of a racially-insensitive joke, and while the swift call to action was a valiant move, days later it was clear that ABC was unwilling to surrender the all the benefits from its reliable cash cow.
While Barr spent the summer bitching about her misfortune and crying the “White tears” that are supposed to wash away her sins, her former bosses were feverishly plotting a new strategy that would involve her former castmates in the best case scenario.
And so The Connors was conceived from an ugly situation with the goal of saving a revival that apparently could survive the permanent absence of it’s mascot. The spinoff from the reboot had it’s eagerly-awaited premiere not too long ago and the critics were overly kind as they praised the expert handling of “the elephant in the room,” and confirmed that the family will definitely thrive without Roseanne Connor barking in their ears.
Regardless of how well the showrunners surpassed expectations, the ratings for the revamped sitcom are significantly lower than the former hit show, and to make matters worse the banished star is refusing to quiet down, as she storms her Twitter account and the podcasts that can stand her, to express her distaste for how her character was killed off.
It remains to be seen if The Connors will last long enough to validate its existence, but either way, the fact that ABC was hell-bent on continuing the saga that was inspired by a White woman who shares the same mindset as the bigoted crowd at Trump’s nationwide rallies — says a lot about how the president’s toxicity is fueling the urgent need for makeshift nostalgia.
There’s no doubt that the demonic presence of Donald Trump, hovering over a weathered country that harbors citizens that spend their pastime coining labels for White women who illegally harass Black children — has inadvertently given network executives the career resurgence they never would’ve experienced if a woman named Hillary Clinton had won the election.
It wasn’t that long ago that Saturday Night Live was flatlining, and bearing a hopeless outlook, and then suddenly Trump’s appearance gave it life. And now it’s almost hard to imagine being entertained by a slew of skits that don’t contain the mandated ode to a bullish idiot, who is completely aware of how much he’s worth to a presently diseased culture.
As we’re served platters of soggy items that have been watered down by the lazy attempts to make the past appetizing again — it’s quite obvious that this never-ending need to rely heavily on the uninspiring clutches of reboots is rapidly eroding the artistry of originality.
The motivation behind the return of Murphy Brown is once again guided by the arrival of a powered menace to society, whose societal potency is vile enough to force back the likes of Candice Bergen and her partners-in-desperation, as they congregate with the prayer that their assessment of current affairs will provide the wins they’ve been deprived off for decades.
Unlike the goldmine of Will & Grace, that has managed to sustain an impressive momentum ever since its triumphant return, Murphy Brown has unsurprisingly failed to register with viewers, as critics acknowledge how this blast from the past is lacking the magic that gave it acclaim — decades ago.
This reworked entry is suffering from the same ailment afflicting all the other offerings that are devotedly married to the man they claim to hate.
Exhausted and fussy viewers are supposed to buy the falsehood of how these rapidly exhumed shows are somehow joining the ongoing season of activism, by ceremoniously holding a celebrated villain accountable, with laugh tracks and generic buzz words that unify — on the basis of inclusivity and relatability.
The annoying adherence to the code “what is old is new again,” has evolved into a fully blown epidemic that won’t succumb to the much-needed antidote anytime soon.
Aside from the Trump factor, there’s also the equally disturbing trend that involves manipulating the mission statements of newly-minted movements, that were organized around ultra-sensitive issues that are still tragically activated.
Perhaps the ease with which these themes are ill-advisedly poached for less than honorable incentives is embedded in the fact that those who initially drafted the bullet point of these initiatives, have been stumbling in their quest to secure the level of consistency and commitment, that’s meant to avoid the lure of misrepresentation.
To be fair, the #MeToo movement was the brainchild of Tarana Burke, who recently divulged the pain of watching her passion being hijacked by a White woman, who inconsiderately claimed something that she didn’t manifest. This misleading debut, inevitably railroaded the efforts of the founder, who wanted to embrace and highlight the pain of all women — regardless of race, religion or creed.
But Alyssa Milano’s rallying cry on Twitter, attracted the attention of thirsty White A-listers, who quickly attached themselves to a cause that they’re now turning into a blockbuster Hollywood movie, that will star White women who will portray the White women — that were victimized by their White bosses at a media company that practices the religion of White supremacy.
Is it any wonder that Amazon is looking to capitalize on the cultural phenoms of the moment by producing trashy programming, with the creative geniuses that have famously excelled at the craft of milking the rewards from the misleading portrayals of the vulnerable.
The streaming portal is partnering on an untitled college comedy series based on the #MeToo movement with Empire creator Lee Daniels, whose reputation precedes him in the realm of avid capitalism based on stereotypical genres — and actress Whitney Cummings whose career was generously launched with the exposure on the now-defunct Chelsea Lately.
The comedy revolves around the staff of the Ombudsman’s office at a college that navigates PC culture and the #MeToo climate.
And if you think that’s bad, check this out:
Cummings will star as the lead character who must reconcile the dissonance between different generations of feminism, and the struggle to reconcile our primal desires, and socially constructed identities with current ethical obligations regarding race, class, and gender.
So basically a White actress playing the role of a culturist who has to navigate the minefield of implementing and championing the evolving requirements of political correctness, with the threat of blurred lines and misdiagnosis of situations that contain the themes of fake “wokeness.”
This developing nightmarish project that is poised to effectively distort the landscape of purely unadulterated activism is setting the stage for more to come, as we’re already enduring the not so charming reboot of Charmed — that critics have resoundingly panned as the dysfunctional sibling of the original.
The root of the problem lies in the coerced storylines and rowdy dialogue that is meant to pay homage to cultural movements, but ends up adding insult to injury by making a mockery of fallen victims of violence with lines like “Kappa is woke!” and the stunner, “being a witch is a fully pro-choice enterprise”, which the assigned guide to the three witches-in-training shamelessly declares.
These rampant reboots have poisoned the nerves of originality with the smear of deception and the greed that manifests in the writing room where the goal is to heighten the seduction of anything that relates to being “woke” — and any of the other hashtags that can be translated through the actions of sluggish characters — that represent the profitable chaos of the present.
And then you have the success stories like Netflix’s One Day at a Time that has just been giving the green light for a third season, and CBS’s Star Trek: Discovery, which will be back for a second season. Both these gems brilliantly used the available blueprint as the guidebook for updated versions that feature main characters of color, and narratives that are progressively refreshing.
There’s also the hope that upcoming reboots in the pipeline including Jordan Peele’s The Twilight Zone, Veronica Mars and The L Word, will retain the signature moves that worked well enough to create plenty of steam for another blissful ride down memory lane.
But what also needs to be discussed is Hollywood’s habitual need to follow the money at any cost, and with the bullseye that can only accommodate arrows that are aimed at surefire hits.
It’s the age of instant gratification and the pompousness of overriding the training phase that demands climbing every instructional step that ultimately leads to victory. Society has been conditioned by the wiles of social media and the users who’ve helped to reshape the landscape into the competition — that erases candidates who aren’t boasting gazillion followers and the characteristics of “influencers” who tweet all the right things — until they don’t.
There are plenty of no name screenwriters who naively give away their prized loglines for free in an attempt to add on to spirited threads — that have the potential to go viral and maybe open the doors that are frustratingly shut and bolted.
The entertainment industry is backsliding due to the unforgivable sin of rejecting new ideas for the laundered remnants of ages past, when creators were creating the classics that are now being treated with stark negligence.
What’s the solution?
Let’s get back to the basics and stop disturbing the corpses that are just fine where they are. It’s time to exercise the brain cells that are dormant and begging for the opportunities that over-indulged creatives are squandering.
Activate the bionics of originality and deactivate the climate of needless reboots and trashy programming.
Our viewing pleasure depends on it.