Showing posts with label family entertainment. Show all posts
Showing posts with label family entertainment. Show all posts

Sunday, June 28, 2026

Friday Night Life



Welcome back to the wasteland!

Summer is on so let's go back in time for this week's post. Let's travel back to rediscover that nebulous time between the week and the weekend that has been muddied over the decades: Friday Night. More than anything, I want to touch on what it was and why it mattered more than the nostalgia that remains around it.

First, watch the video above to get a handle on what exactly we're talking about. It's not an easily definable thing we're going to be talking about from here on in.

You might think that Friday night is still a big deal these days, but it isn't to the same extent it once was. This is for multiple reasons. "Friday Night" was a cultural institution when everyone had more or less the same work and school week, with the same promise that weekends would be for you and those around you and no one else. It was your time. This is what made Friday Night such a powerful force. Everyone was off at the same time, with the same options, and in the same communities, and that knowing shift is what drove a lot of what made it all so enchanting.

Work exists for leisure, not the other way around, which means that leisure has to be more meaningful than work. Therefore, once the weekend actually comes, it is anyone's guess as to what happens next. It's a whole other world divorced from the long week being left behind. The actual activities on the weekend itself don't matter as much is the reality that it's time for you and yours, and the world comes in distant second. But that's the weekend: not what lays between it and what was left behind.

Friday Night, however? That's where the magic is.

Friday is a lot of people's favorite day of the week because of more what it symbolizes than what might actually occur during it. A Friday symbolizes a coming break from work and a retreat into leisure. Nights are already seen as the leisure time (it is when most people sleep, after all), but when you add in the weekend ahead and (usually) the lack of no big plans ahead, it makes Friday Night a time of endless possibilities. You can do anything, and anything can happen.

It isn't so much what you do, but the knowledge that you can do it. This is your true reward for getting through the week, and it is what made the work truly worth getting through. Friday Night represents real freedom, the kind we tend to get less of these days regardless of your age or station in life. Everyone had the same shared experience, which is what made it all the better. you could also meet anyone, and you were all on the same equal ground and in the same mindset.


No one really says this anymore.


I try to be careful with these subjects on here, mostly because it is easy to fall into the nostalgia trap of thinking old things were better simply because they were old. It's what I and many others my age did when we were young, but I think at this point the conversation has moved beyond nostalgia arguments when industries are collapsing and the online space is rotting away at faster and faster speeds. We're trying to find that place we lost before we lose the chance to rediscover it for good. What people are looking for is that intangible space between the past and the present, the spot that we can't seem to find, and put something down there to begin building on.

A sort of new monoculture? Who can say, but it's something we know we lost and something we know we need to regain.

Nostalgia isn't really an argument anymore as much as it is now a Brand like everything else, and you already realize that, as does everyone else. You don't actually want the 1980s or the 1990s or even the 2000s back. You want that cohesiveness and sense of belonging and wider societal purpose they had in spades compared to now. You want to be able to go out and find things with other people as curious as you are: someone to connect with and something to find. The loneliness epidemic is not just for single males, after all. It effects everyone living in a world where fragmentation through consumption is the end goal. This world is the end state of striving for perfect individuality, after all. The perfect individual is alone.

But perfection isn't possible. Convenience doesn't necessarily make things better, either. Those were things taken for granted back then, and now we can't even entertain going back to it again. However, the Friday Night experience we all want and desire, is not possible in a world of easy convenience. It requires being able to go out and find people who think, act, and believe, at least a little like you do: a cohesive communal experience where anything can happen. That is a big part of the magic.

That requires risk, but it requires risk of a different sort: where putting yourself out there doesn't result in an internet video from someone who thinks so little about their neighbors that they will toss them to the sharks and be rewarded by those around them for doing so. It requires a world where you can talk about the same things with people you barely know and find yourself at least a little better off for it. You can't do that if your neighbor has nothing in common with you and has no desire to even try to connect. It's a two way street, and that isn't where we currently are now.

Perhaps this is why the past is currently looked at with more curious eyes beyond the nostalgia, and why Zoomers and younger are hungry for it despite having no memories of that era. We all know the way things are isn't sustainable and is not ideal, but we don't know how to retain what we lost without pretending the clock is a different time than it is.

The point is that making everything more convenient hasn't really made anything better. Yes, we still get good books, video games, and music, but we were already getting those before. What it hasn't done is made our quality of living better as a whole. Life itself hasn't benefited from these changes, which is how a nebulous feeling like Friday Night became a pale shadow of what it once was. Yes, you can go out somewhere, but Everyone won't be there which means Anything can't happen. The magic is no longer there, just as the majority no longer is.

It's gone, but the hunger for it remains.

And that's what we need to get back.

So the next time Friday Night rolls around, think twice about what it really means, and what makes it truly so special. Perhaps if we try to reclaim that feeling, we can come that little be closer to reclaiming that certain undefinable quality we can't seem to nail down. It can't hurt. In fact, it'll only bring us closer, in the end. What else can be better?






Saturday, April 29, 2023

Weekend Lounge ~ Dead Hollywood Theory



Welcome to the weekend once again!

We've talked many times about Cultural Ground Zero or Dead Internet Theory in many of these spaces, but one thing we do not discuss is Dead Hollywood Theory, the theory that the former masters of our art and entertainment are not only not around anymore, but there is a constant attempt by those that remain to trick you that they in fact, are not.

One of the most recent examples of this was the revelation that Cartoon Network, once the home for children's entertainment in mass media, no longer appeals to their main demographic. In fact, children do not even watch television anymore (just as we've posited that they do not watch modern movies either) but instead stick to online spaces from YouTube to short video content on other multi-billion dollar sites, but none of these things are run by Hollywood. No, not at all. Oddly enough, it appears that their only audience is a quickly shrinking chunk of the cohort that gave them attention as children. All these old industries are dying.

The reason Hollywood and every other ancient industry keeps sticking to reviving old IP is because they only know how to scrapie for money from the old audience they still have: Millennials who demand constant updated moral revision to their sacred texts, thereby refreshing the old scripture of their youth. They have no new customers coming in.

What do I mean? I mean the fact that the average viewer of the Cartoon Network television station for children, is now nearly 30 years old. Believe it or not, this is the reality we live in now.




And this is their daytime audience, the time when the majority of that age demographic are at work or indisposed with real life activities. Even there they overwhelm the children audience.

This doesn't even mention the recent revelation that Cartoon Network is also expanding their Adult Swim block (a block that has been around since Millennials were children) up to 8pm and into Primetime viewing. In other words, they are catering to adults now, not children. This revelation raises a lot of questions about the maturity level of the content on the network being so much lower than when they were for children, but I digress. Just like the comic book industry, they have given up on growth. All that remains is a slow circling of the drain until death.

But this is not the reason for today's post.

I only bring that up as an example of a wider trend currently occurring. There is an effort among those in charge to puff their chests and pretend the emperor's clothes are not only spotless, but grander than they've ever been before.

Did you know how much of what Hollywood puts out is actually fake? How much of their advertising is a misfire, how much of their revenue is misreported, how much of their streaming watch stats are absolutely botched?

It turns out, nearly all of it. Not only that, but their self-imposed feedback loop of egoism and advertising dollars thrown into the furnace of their own delusions has lead them into a spin cycle into irrelevance. Cartoon Network isn't the only old relic of Cultural Ground Zero that is little else but a husk for a generation that has nowhere else to turn to.

Hollywood is dying. Technology is changing, but so are audience's tastes, and it is all thanks to a system that has taken to chasing its own tail than engaging with whatever dwindling crowd still gives them attention. It's all fake.

Check out the above video to see just how artificial modern Hollywood is and how bad things really are there. It should also tell you just how little it provides what the audience wants. They aren't actually catering to anyone, just indulging in mindless egoism in their own shoddily constructed mirror. Forget Dead Internet Theory (which is quickly proving itself real with events like this), let us instead see this as proof of Dead Hollywood Theory.

The old ways are ending. It is time to prepare accordingly.






Friday, December 24, 2021

Merry Christmas!



I hope you're having a good holiday season. It's been a rocky year for many, but today is a day when you can think of higher, better things. For a few moments you can relax, even if you have things you must do. That is what holidays are actually for.

For those who have the time, or are looking for something a bit bizarre, I have just the treat for you. Check out this public domain Christmas broadcast from 1992. It contains several cartoons that are free to view.

It's a strange thing to post, but this is a strange blog. So sit back, relax and have a breather this Christmas season.

You've earned it.





2022 is just around the corner. You made it this far, you can make it the rest of the way! There is much more to see, and much more to do. However, now you can take a rest and congratulate yourself for another year survived. 

Have a good Christmas season!





Enjoy this playlist of public domain Christmas songs, and have a fruitful week!

Thursday, October 28, 2021

Art of God



Have you ever woken up and had the impression that you are not where you're supposed to be? That this world isn't right, and that you're missing something that should be blatantly obvious, yet isn't? You probably have, especially these days. The world has changed so radically over the last decade and is changing even faster over smaller periods of time.

By tomorrow, everything we knew could be long gone and forgotten. And if it is, what can we do about it?

All the more reason why preparing for the future is paramount, probably more than it ever has been and certainly more than it has over the last decade. Nevertheless, one cannot prepare for the future without having some understanding of the past, which is definitely a weak point for many these days. Nostalgia has overtaken common sense, and product supersedes humanity.

It is difficult to connect with the past when you only see part of it, and the rest is obscured by nostalgics and propagandists. We are missing the bigger picture here.

The most tired aspect of modern culture is constantly dealing with and talking about nostalgia. It's a vicious circle that never ends as we consistently deal with echoes of the same issues we've been tackling since the middle of the 20th century. Where worship of the past was just about non-existent in mainstream culture in the '00s, it soon poured in from the fringes to make the 2010s a characterless blob of a decade with nothing original to show for itself. Why did this happen, and why are we still dealing with this exact same atmosphere in the 2020s? Certainly a new decade means change, right? That is what we were taught was supposed to happen.

But reality had other plans.

Truth be told, we all know Cultural Ground Zero is the marking of the moment of the end of 20th century culture and all that lead up to it finally running out of steam, but that shouldn't explain our drive to steadfastly ignore this reality. We still won't acknowledge the world has changed. We might say it has, but we definitely don't act like it. 

We spent the 2000s depressed at the state of the modern world, and the 2010s angry at the state of the modern world, leaving us with little future to think about aside from how bad current events are. All that really remains is the past, so to weaponize that is all that some of the less talented among us have left to offer. And rest assured, no one who tries to use the past as a sledgehammer against reality has anything inside them resembling good intentions. As long as they remain in charge, and as long as you give them any sort of approval or acknowledgement, this is what you will continue to get, forever and ever.

It is what happens when you give support to people who hate you. This is why no one throughout history has ever done this, aside from us.

Until we let the past, present, and future, be what they are, we will be trapped in this endlessly spinning cyclone forever. Imagine an old washing machine rattling endlessly in an old rotting house, the decaying floors and walls creaking against its jittering weight as it attempts to pointlessly do its job. We all know what is eventually going to happen in such a situation. The ones in charge, however, do not care.

It also doesn't help that most every modern man is a utopian at heart, believing that if everyone were to prescribe to one ideology in particular the world would reach Heaven on Earth. This doesn't even matter what your religion is (and yes, you have a religion even if you say you don't: learn what the word means) because everyone does this.




How often have to gone through it in your head? Certainly the school system worked hard to beat it into student's skulls, to the point that they can remember it far more easier than multiplication tables or where China is on the map.

The story is that the industrial revolution changed human nature forever and now pain and suffering would go away because of Progress thereby bringing in paradise and saving fallen humanity. It never happened and it never will, but no one can get it out of their heads. Looking back on it now, one can't help but see it for the farce it is. This attitude explains why a lot of the things people thought and did during the last century seems so bizarre from an outsider perspective.

Why did it feel like the majority of the western world throughout the 20th century was more obsessed with telling people Heaven was just a folk song and cry session away from arriving on Earth, instead of pursuing truth or building towards anything?

Did no one think to build new bridges while the old ones were rusting?

We've covered this on Wasteland & Sky many times already, from Hollywood to OldPub to current bombs like the comic book industry or the whatever is left of the old record labels. No one really wants to create--they want to enforce a narrative for a group that will enshrine them as high priests and build statues in their honor. They just have to get it through their soft brains that the Special People have all the correct answers for them.

Tearing things from the base, fetishizing what you like at the cost of all others, and cutting off anything else, is the main priority of today's supposed artist. Limit your audience intentionally and if they don't connect with you, well, that's their problem. You have something to say, and if they don't want to hear it then they are the ones who are wrong.

You must boost yourself up in order to stand on others. And as an artist that is your destiny--to be above the masses.

But this is the opposite of the purpose of the artist. It never worked this way before. The purpose is to find ways to share your experience of the world with the audience so that you can both come closer together in Truth and understanding of reality. In this aspect, creation is religious, because you are attempting to share the word with the world. You are trying to get them to come together, if only for a single second, for something bigger than what you each have individually. Forget all art being political: all art is religious.




Which brings us to modern "religious" art. This is going to be a tough subject to cover without offending anyone, but that would only be if the intent was to purposefully drive people away from the larger point here. If all art is religious, then what can be said about modern religious art in comparison to mainstream or "secular" art as they call it? 

The truth is that "secular" and "religious" art are two lesser halves of a whole. On their own they are only have a mere fraction of what they can be. If all art and entertainment is religious, and it is, then how can there be a separate "religious" and "secular" art?

That's just it: there can't be.

It can simply be told that there is no such division of religious and secular art and anyone who thinks there is has bought into a frame that never existed before the 20th century. Separate "religious" and "secular" art do not exist.

We're going to have to go through a real gauntlet to get through this subject, so please bear with me. First we must gather some perspective.

One thing we really do need to realize is that the 20th Century is not reality: it's an aberration. The invention of "religious" art as a product and wholly independent industry in modern terms is a misnomer. It isn't real.

Note that I am not talking about statues or paintings of religious figures or events--such things are still art, just of higher value to certain groups for obvious reasons. They are still art regardless of their origins or higher intent behind them. I am specifically referring to the idea that secular things have no bearing on religion and religious things have no bearing on secular things, which isn't true. Before the 20th century, nobody considered this division when creating. They didn't consider it because it didn't exist. We created this false frame ourselves.

Religion is about how one views your purpose in the world and what your role in existence is. Everyone has a religion because everyone believes they have value and purpose outside of themselves and in the universe they live in. If you didn't believe in a purpose you would join the unfortunately growing number of suicides creeping all across the western world. As the expression goes, it doesn't matter if you believe in God because He believes in you. The reality of it is that existence outside of yourself will push you onward and force you to learn, trust, and grow in the world you live. You will learn to believe in things outside yourself or you will die.

You are a creature of faith, even if you don't think you are.




Therefore, one cannot create a piece of art that is not religious. The subject is unavoidable. Every piece of art is embedded with what the creator believes, on some level. You are what you believe, in the end. The only way you wouldn't would be is if you were a complete and frothing nihilist, but even then you would be expressing your philosophy through the events in your work. It just is the way it is. It cannot be avoided, and for centuries before us it never was.

This idea of separates did not fall out of the sky, either. What happened is that the West became so comfortable with their vision of utopia coming soon that different groups of people pushed in different directions to steer the ship. One group decided to throw out everything that came before because the future was here and now, and the past was evil and to be forgotten. Once we throw off the chains of our horrible ancestors and burn them in effigy, and apparently do this over and over forever, we can finally Evolve into our next stage. Whatever that is we do not know. But it will happen someday. At some point. Definitely. Just you wait. Anytime now.

However, this is just one of the groups dealing with unreality. The other group that caused the division between the religious and the secular is the Christian Entertainment Industry stationed all over the Western world. They made the division deeper.

I can hear the objections already. How can a religious group forcibly divide religion and secular art? Wasn't it the utopians that did that? The answer would be that yes, they did. And the Christian Entertainment Industry is half of the cause. They are both to blame.

This divide was caused by the secular purposefully pulling away from the religious and the religious purposefully pulling away from the secular. The gap is so wide today because of this fissure that was deliberately caused so long ago. In many ways both sides just consist of different takes on approaching the "Americanism" heresy that believed a specific place and people on Earth were destined to create a new Eden.

Now, before we go any further I'm going to have to make a few things clear. This is not an argument against any specific denomination of Christianity or groups within said denomination. The subject is not specifically theological in nature which has little to do with what the issue we are covering is actually about. We are speaking of worldly problems and behaviors that caused the troubles which lead us to where we are today.




Living as a utopian is not dependent on where you spend your Saturdays or Sundays, it is about what you believe human nature will consist of hundreds of years after you are gone. If you believe it anything but unchanging and that reality itself can absolutely be warped by thinking the right thoughts and saying the right platitudes then you are a utopian. Since this is something everyone involved in the Christian Entertainment Industry absolutely believes, they are therefore utopian. And this is what we will keep in mind moving forward today.

Modern Christian Art is actually an incorrect descriptor. It is not particularly Christian, it is not really Art, though it is thoroughly Modern. I suppose 1 out of 3 isn't a total failure, though they did hit the worst of them dead on.

For an example of what we are talking about, we can mention any number of things. Movies such as God's Not Dead, books such as Left Behind, or music such as the heavily regulated and gatekept CCM industry, all exist to sell a prepackaged ahistorical soft serving of mid-20th century values and platitudes complete with their own religion heavily based on a modern view of the world that didn't exist before Industrialization and, to be frank, no longer exists today. Their framework is hinged on a time and place that was a waterdrop in the waterfall of history.

It is in fact the makings of a religion, but it isn't framed around Christianity. It is framed around safe, saran-wrapped modernist living for first world baby boomers that came of age over half a century ago. They are more or less 20th century Amish only still entirely dependent on the grid. They even have the three aspects one need to be considered a makeshift religion.

They have a cult: that would be "Bible-based Christianity" though a thoroughly 20th century view on what that means which is always different depending on the date of the calendar (but never before 1950 or so) and use their own "Christianese" language to speak to the ingroup. They also tend to call themselves "non-denominational" though sometimes Evangelical though that is increasingly rarer. The point is that they all share far too similar habits.

They have a code: a thoroughly modern baby boomer outlook on existence usually hinged, purely coincidentally I'm sure, on William F Buckley. You might as well look up to King Louis IX. He has about as much bearing on the modern age. More, actually.

They have a creed: this would be their stale and unchanging art meant to keep you locked down to one place and time while the world around them goes to hell in a handbasket. This would be the Christian Entertainment Industry, which fails at being Christian and fails at being Entertainment. But it does keep you complacent in modernism, and that is what matters more.

From what I can learn, the source of all this is the early evangelical explosion around the mid-20th century which brought up many figures from Billy Graham, Pat Robertson, Jerry Falwell, and Francis Schaeffer, among others you still hear about today over half a century later. This group would go on to influence philosophical attitudes that later pundits would call "conservative" in outlook. Though, being a faith revival it wasn't conservative in nature, it was in fact very progressive in its ambitions. What such people are actually attempting to conserve today is this movement, social climate, attitudes, and all that goes with it.

It's looked at today as a big boom of Conservative culture, though it is in actuality a fairly modern movement stationed in a particular place and time meant to lead us to a utopia. Heaven on Earth. Much of this consisted of an explosion in Modernist Evangelical art and culture by the likes of Jack Chick or Focus on the Family which hinged everything on this new "Bible-based" movement that would be the handbook to a better future.

And this is the group the runs the Christian Entertainment Industry.




Now, to be fair, there is nothing wrong with a religious revival, nor is there anything wrong with people excited to share their new found discovery of the meaning of existence with everyone they can. To say otherwise would be juvenile and sophomoric. What is wrong is said people using their new found discovery as the art equivalent of soma to lull those around them into a modernist slumber of blandly being safe, fat, and happy. This is the real goal of the industry more than anything. Here they will give you guidelines you need to reach to be put into specialized Christian stores, otherwise your art is Not Christian Enough and is not fit to be consumed by the faithful. Disagree with their official doctrine? Well, you're on your own.

Given that no one believes in mid-20th century first world boomerism aside from a small gaggle of people, a lot of people are on their own. Where does connecting and reaching the world come into play here? That's the problem. It doesn't.

The issue with such a thing is that the standards this industry runs on is one divorced from the majority of Christians (Evangelical or not), the majority of the world, and the rest of history itself. Art is made to connect with the most amount of people possible--the above industry is very deliberately tailored to not do that. Instead they have made new standards to carve out their own special space not unlike the one Fandom used to destroy adventure fiction.

Actually, it is very much the same idea.

Admittedly, at least they didn't hijack another subculture to do this like Fandom did, but it doesn't change the realization that they deliberately made an industry that thrives off ignoring reality for pumping soma into a plastic bubble culture while the world around them goes to hell. This wouldn't be so bad if they didn't try to hijack in entire religion instead and alter the perception of it so badly that every knucklehead and Millennial uses this group as an example of your average Christian believer. This is actually worse than what happened to adventure fiction because it is affecting a several thousand year old religion in the process.

All for what? Conserving a false modern world that is currently on its death bed? We shouldn't be trying to save the 20th century. It's already dead. We should be letting it go.

Think about this logically. Is there a Hindu Entertainment Industry? No. There is Bollywood, but it isn't explicitly Hindu over being Indian. Why? Because it is prepackaged in the fact that it is based around India's entire national character, which includes Hinduism. Secular and religious are one and the same, because they naturally are. You can notice the same for every other religion: there is no entertainment industry fashioned around them to serve soma to cultural members. They are just naturally embedded in the art already being made.

They just make art. This industry cannot do that.




Of course the natural reaction to the above charge is reflection. We will then have to go on about how Hollywood/OldPub/whoever hates religion as a concept and wants nothing to do with anything that isn't modernist secular cultism. That is fair, they clearly do. They are very clearly a problem. Any objective analysis of their products these days shows that they definitely know less than nothing about religion. Everyone knows that.

But this doesn't excuse making the exact opposite error they made. Now we have two different industries that are at best half of what they should be and deliberately cutting themselves off at the knees to cater to shrinking demographics. Both sides are attempting to fashion a construct around themselves instead of engaging with reality as it is. If you want to know a source for the recent downturn in mainstream art and entertainment it is this truth catching up to them. Their time is at an end, and they deserve it.

A religion is not a cult. I know a lot of haha funnymen in the 1990s tried to convince you they were the same, but they are actually very different things.

Religions exist for the purpose of connecting life and purpose to a higher meaning outside of our perceived reality. We want to know more about why we're here and what it all means. This is a way of opening thought to wider and larger perceptions of reality.

Those who say "religion controls you" are wrong: religion offers guidelines and food for thought that allow you to better understand your place in the world. There is not religion on Earth that thinks you becoming a member will instantly make your life easy and give you a pass through hardship and strife. We used to know this before fedora garbage became common. Religion teaches you to work with and understand the world you live in--it isn't a toggle to turn on easy mode. This isn't what any religious person honestly believes. Frequently, joining a religion actually makes life more difficult, for many, many reasons.

However there is a certain type of group that does think that by following their rules to the letter that you will achieve utopia on Earth. All you have to do is turn your brain off and let the leader do the thinking for you. Once you do this, everything will work out. As long as you listen to everything they say, anyway.

The group that believes this would be called cultists. David Koresh, Jim Jones, the Rajneesh movement, and countless others, believed that giving them blind obedience was more important than considering your role in the universe or what you can do to improve existence for yourself and others. It is the literal opposite of a religion.

The very real difference between the two groups is that religion exists to connect you to both a higher power than yourself and others of the same beliefs with matching goals. Together you grow and understand the world better and in a more deeper and complex way than where you started out. Cults operate by figureheads that must be followed to the letter to achieve nirvana, and wouldn't you know it that following said person will make you happy and whole and all your problems will just melt away. You aren't growing: you're shrinking.

Using religious beliefs as veneer for cult thinking doesn't suddenly turn it into a religion. It's still a cult, and it's still trying to offer you something a religion doesn't promise you or the world. There is no get out of jail free card when it comes to reality: cults try to convince you there is and religions do not do this. It is very simple.

Cultists cannot create art; they can only create pamphlets for the cause. And is this not exactly the problem with mainstream art?




This group who runs the Christian Entertainment Industry does attach cult behavior to religion (then throws the word "religion" under the bus in the process, mind) and has in fact influenced many people's thoughts on art and entertainment in unhealthy ways that has stunted creativity over the past half century. This is inarguable.

For instance: rock n roll is not the devil's music. The devil has no music. The devil cannot create anything. You can take things that already exist and warp them to being a pale imitation and mockery of the original, but the core of the original creation remains intact. A musical style with roots in blues, gospel, and country, all of which are Christian musical styles to begin with cannot suddenly be evil and Unchristian because a 20th century boomer in a suit who knows nothing of history says it is. It does not work that way.

Instead they influenced many people (both with them and not) to eventually cut off a musical style and pruned it of its religious roots by letting nonreligious people dictate the rules for the genre, thereby ruining what was being made and released into the world. This is not living your faith: this is running away from the world after poisoning the pond.

This aversion to and hatred of art is an attitude antithetical to creation. And make no mistake: it is a misunderstanding of epic proportions. Religion is about celebrating creation; art is the act of creation itself. The two go together, because they were made to. Every other culture in the world understands this truth. A "religious" person telling you avoid an entire medium, genre, or style, because of preconceived notions they have built up in their head is objectively doing it wrong. They are turning towards cult behavior and damaging others in the process.

What this leads to is two separate cults battling for the soul of something they are both missing half the picture on. Where it was one whole it is now broken in half, and the chicken's are currently coming home to roost. This is why western entertainment has truly hit a nadir. We let this happen. Unless the pieces are reassembled, they will never become whole again.

If you want to build a safe space then go do it on your own. Creating a culture meant to reject reality was never going to end in anything but disaster.

That disaster would be Clown World.




It does not have to be this way, though. It won't be forever. We look to the good old days because we cannot imagine a good new future. Here we are, stuck floating in a stagnant sea of endlessly recycled nostalgia and misplaced memories. No wider hopes for the world, art, culture, or each other. Just a bunch of cults trying to pass their pamphlets around a dead wasteland.

But, as has been said, this isn't the way forward. We need a refresh, a real reboot in our thinking. Change this broken modern mentality and you can change the world. Hopefully for the better this time. I'd like to think we're about due.

We have a blueprint forward, we just have to finally use it. Things have changed so much recently that it is a bit difficult to truly comprehend where we've steered wrong, what we need to walk back, and what we need to keep. Nonetheless, we will figure it out.

The '20s are going to be a weird time, that much is clear. There is a lot to do and not so much left to save. We're going to have to focus instead on moving onward into a new future. Leaving the '00s and the '10s behind in the dust is going to be worth every moment of blood and sweat. Reattach to the past and move forward properly. We're due.

Cultural Ground Zero happened a quarter of a century ago. It successfully killed off the last bits of modernism and left us with the scrap heap of memories that we have used to prop up the pathetic state of the way things are for far too long now. That isn't going to last forever, and it is already falling by the wayside. When it finally goes we are going to need something else in its place: something better. And we know by now exactly what we need. We just have to do it.

Change is on the way, ready or not. Let us just hope we do it right this time. Who knows how many more chances we will be given before time is truly up.






Thursday, October 22, 2020

Fear of the Dark



Keeping with the theme of Halloween themed subjects for October this year, I wanted to talk about probably the most influential one for me both as a boy and one that led me to eventually be a creator. That would be the 1990-1996 (...) horror anthology series, Are You Afraid of the Dark? that ran on Nickelodeon down south and on YTV up north. This was one of the first live action series that managed to speak to me as someone who usually preferred animation. There was a short two season revival that brought the series back in 1999, but by 2000 it was over for good, at least in it's original incarnation.. In other words, Are You Afraid of the Dark? (or AYAOTD?) pretty succinctly captured the 1990s for Gen Y kids during its entire run.

The series began in Canada in 1990, the place where most live action shows were once filmed for kids (at least, the non-sitcoms and game shows) and was soon aired by Nickelodeon in 1991 where it achieved most of its fame in the south. In Canada it primarily known for airing on YTV, which I've written about before. To this day, it is still fondly remembered by Gen Y kids, and for a very good reason. There wasn't much else like it.

So what is Are You Afraid of the Dark? about? Well, aside from being a horror anthology series for kids, it also stars kids telling stories about other kids. In other words, it felt (though it wasn't) a lot like a series made by children for other children to enjoy. It was unique in that sense. For a traditionally adult genre and series format like a horror anthology, it was the first to show these sorts of things could be made for wider audiences. And it is still the best at what it did, even years later.

Every episode begins with a group of kids called "The Midnight Society" gathering around a campfire in the woods and telling scary stories they came up with themselves. They each take turns every week to tell one. There was no limit as to what the stories could be about as long as they were horror tales of some bent. What this did was give the stories both a bit of levity (knowing they're being told by kids adds a certain charm to them) and an incite into how that character thinks or acts since what is told sometimes relates to something that happened to the kid recently. Sometimes there would even be reoccurring characters depending on who was telling the story. Doing it in this way has actually managed to help the show age far better than you might think, since any cheese is given a good context for why it's there.

And it remains popular, getting a short mini-series revival in 2019, and known for airing during Nickelodeon's prime period of popularity in the '90s, it has a name that still commands nostalgic clout today. Being that this year is its 25th anniversary, I believe it deserves at least a little bit of exploration. Heaven knows far worse things get attention these days. You can find a (far too) short oral history here, some of which I will use to talk about it going forward.

Are You Afraid of the Dark? was created by D.J. MacHale and Ned Kandel. At first it was a special that aired on Halloween before repeated airings gave it the success it needed to get a full series order. The show was originally pitched to Nickelodeon, but they were unsure of a horror series for kids. Kind of weird for the network that prided itself on edge, but that's what happened. It was up to Canadian production company Cinar to jump in instead, and they did. As a consequence, the show is basically a Canadian show that aired in the US. Again, this isn't out of the ordinary for the time. Unless it was a sitcom, all live action kid shows were Canadian productions.

Because of the strict guidelines of no violence, blood, or depravity, the writers more or less had to try to stick to Gothic-style creeps of the sort the Twilight Zone had to rely on back in the day. These limitations would probably strangle most productions in the crib these days, especially with how nihilistic gore has gotten, but the lack of it made Are You Afraid of the Dark? what it was. It was a good way to help the series stand out, even among others of its own genre. You definitely wouldn't see this sort of thing in a Tales from the Darkside episode, and that's a good thing.

This was also the time before computers came into heavy use, so the series had to use practical effects instead. In the era where mainstream horror was dying, they still went with the classic approach to the scares. However, despite that, the effects have aged surprisingly well, for the most part. The worst looking ones are those where they tried to use computers, but then those have never aged well and never will. However, combining the focus on old style horror with the practical effects of the time lends the show a look that still works today.

There is a bit of a misunderstanding in how horror works in that so many think horror can irreparably scar children and they must be hidden from it. No doubt there is much that can traumatize anyone, and there is also a reason horror is primarily for adults, however, that doesn't mean it all is. Horror stories are fundamentally tales of bad choices leading to bad ends, or lessons being taught to characters through an unfolding plot stemming from Something That Shouldn't Be. It's a genre essentially about showing why things are the way they are and why they need to stay that way. Horror that forgets that lesson tends to not work.

For an example, let us talk about my favorite episode of Are You Afraid of the Dark? and explain how it works so well. There are many more popular examples that could be used, but I would rather stick with a more common episode. The one is called The Tale of the Phone Police. Though it is not spoken of much by aficionados of the series, though it is quite a good one.


Every episode begins with a title like this.


Jake and Chris are making prank calls from Jake's room. Jake is experienced at this sort of thing, but Chris is unsure and nervous that what they're doing is okay. Jake's sister catches them in the act and warns them that if they keep it up they will upset the Phone Police and things will get back for them. Who are the Phone Police? A mysterious group that enforces phone etiquette and punishes those who go against it. One of their biggest pet peeves are prank callers.

To emphasize this she tells the story of a bad boy named Billy Baxter who was once a troublemaker until he was caught by the Phone Police and never heard from again. Naturally, they don't believe her, however, they do have their doubts and soon find a suspicious number in the phone book. It has six numbers instead of seven! Jake calls it, and a creepy old man replies asking for help. He's trapped. Jake keeps hanging up, but the caller keeps calling back, pleading for help.

It keeps getting weirder, so the two boys end up going to the phone company and asking about the number. They are soon take to the records department in the basement where it somehow gets even weirder.

Jake is arrested by the Phone Police while Chris overhears the manager reading him his crimes. The prankster is taken to a cell while his friend escapes unseen to find help. Inside his cell, Jake finds nothing but solitude--no way out, and no neighbors or cellmates. He s trapped alone with nothing but a phone.

The phone rings, and the old man voice returns. He reveals himself as Billy Baxter, the boy that went missing so long ago. All Jake can do now is sit in a cell and receive prank phone calls of his own: the phone cannot make outside calls so he cannot call his parents or anyone for help. The only exception is that you can call back numbers that call you. The old Billy Baxter laughs and leaves him alone in the cell again.

Meanwhile, Chris gets back to Jake's house to explain what happened. However, Jake's sister doesn't remember him or her brother at all! She does remember the story of the Phone Police, but the tale wasn't about Billy Baxter. It was now about a boy named Jake O'Brien! Chris is now alone in rescuing Jake from captivity as he is the only one who knows he exists.

That's right, the Phone Police not only arrested Jake, they also erased him from existence. These guys are a lot worse than we first thought they were. Chris probably only escaped because he was in the building when it happened, but no one saw him there. It doesn't matter that much, Jake is in serious trouble regardless.

Chris then shows his resourcefulness by sneaking back into the building back down to Jake's cell. He gets Jake out and tricks the manager into getting trapped in the cell himself. The two head for the only exit--the underground tunnels. But the manager is adamant that no one escapes the Phone Police!

A chase begins underground as the two escape back out through the sewers to the streets. However, suspicious police cruisers are all over the place and the pair have to hide in the dark. After a close call, they get back into Jake's house and his sister remembers him again. Whatever the Phone Police did to his existence had been undone. But before they can relax, there is a knock at the door! They plead his sister not to answer, but she does anyway to reveal--a pizza delivery man. Turns out he just had the wrong address. Jake's sister makes fun of them saying she just made the story up, and even they begin to question just what they went through.

However, the pizza delivery man returns to the car to remove the sign from his door--it is a picture of a phone. Jake's phone then rings again and the laughter of Billy Baxter can be heard as the story ends. Were the Phone Police real? It doesn't matter because neither Jake or Chris ever made another prank call ever again.

A few tidbits about this story. It was obviously inspired by the Thought Police from 1984, Jake's last name is even O'Brien. This episode also inspired Weird Al Yankovic's Phony Calls parody of TLC's Waterfalls. A bit of odd trivia, but the show did have an odd reach.

What makes this episode work is that it nails the concept of childhood horror from unexpected places perfectly well. Not only is this the type of story that kids would tell to each other on the playground, but it also successfully captures the sort of thing that would unsettle them. Prank calling is (or was, I don't know how common it is anymore) a pure childhood thing that tapered off during the teenage years. Turning it into the plot for a  horror story for kids was a masterful stroke. This is what the show was best at, and what no one else could match them at doing. Not even Goosebumps managed to be as good at it in this area.

As mentioned before, horror stories show what happens when the rules are broken, and this episode goes to the nines with it. At the same time, it doesn't have to explain everything to the viewer. You never learn everything about the Phone Police, not even what they actually are or what their exact purpose is. It is never explained how they can erase your existence by imprisoning you or why they have the power to do the things they do. They just have it, and you'd better not mess with forces you do not understand. There is no tired, pointless backstory or origin story. It just is what it is. That is what makes horror work.

As a series for introducing kids into horror, it does a great job most of the time, and this episode is one of the best examples of how it works. It presents the sort of thing that would unsettle the audience, but also reinforces the morality of the norm at the same time. It is no wonder Are You Afraid of the Dark? was such a big hit. It truly was unique, and successful, in what it was doing.


The original title sequence.


However, nothing lasts forever. After two season of a 1999-2000 revival, the series was shelved for good (aside from the reboot miniseries 20 years later meant to cash in on nostalgia) and so was children's horror as a whole. Despite breaking new ground, and proving it could work, those in charge still refused to allow more series like it to air. As a consequence, instead of being a pioneer, Are You Afraid of the Dark? became an anomaly. Horror anthologies as a whole didn't survive in network TV either, though. The television landscape of the late '90s was a very different place than it was even a few years prior. Times were changing, whether the audience wanted them to or not, especially with 2001 just around the corner to reshape everything in the west forever.

One of the reasons co-creator D.J. MacHale got out of children's productions is because the major broadcasters no longer wanted to create series like this anymore. He moved out of the industry because it was no longer about making the sort of thing he liked making. This is pretty obvious to anyone who has been paying attention to mainstream entertainment.

We all know this. The only thing networks want is the lowest common denominator comedy series that can be disposed of quick so they can replace it with a new one and not have to get a mega-hit and have to pay the actors more money as a consequence. Nickelodeon is forced to rely on milking '90s nostalgia for a reason: this practice of producing only trash for a quick buck has destroyed their brand over the decades. We all know the only reason the reboot miniseries happened is because Nickelodeon is hurting and relying on their old properties from their highest point to stay alive. It's hard to emphasize how their biggest property still running is a series that premiered in 1999. This is not a healthy industry, but they chose to make it this way. It is a horror story of their own making.

This emphasis on recreating the past instead of being inspired by it to create new things is a big part of the problem with modern art and entertainment. There is nothing stopping a new series inspired by Are You Afraid of the Dark? from being made except that those in charge would rather cash in on the name instead. It's easier. That's what it's been about for some time now. It's not about the art, or even about supplying the customer with a product. It's about the easy money. As a result, do not expect another series like it to come around, at least not in the old system.

But you don't have to settle for that.

As the mainstream art world implodes, there are many new creators coming up outside the system to entertain you. The next Are You Afraid of the Dark? could be just around the corner. It just won't come from the old system. They had their chance, and they squandered it. That might be the scariest prospect for the old guard. They just aren't needed anymore.

It's an awkward Halloween this year, for sure, but it won't be like this forever. Eventually normality will return, and just like the show's characters we will be able to look back and reassess our path. How did we get here? Well, it's been a very long and strange path that lead us to where we are. The destination, however, remains unchanged. We still know where we're going. Normality still exists, and it's still worth fighting for.

Happy Halloween! I've got a bit of a surprise for next week, so keep your eyes peeled!



Thursday, September 24, 2020

Endless Adventures Ahead!


One of the major reasons I wrote the Pulp Mindset is because nobody reads anymore. That is even the first sentence in the book description. The fact of the matter is that reading is a dying hobby, reserved for the small few fortunate enough to be introduced to it at the right age, and a certain type of elitist reading obscure second person present tense "fantasy" books about the dynamics of gender theory over Joss Whedon dialogue. In other words, few normal people read anymore. No one in OldPub even begins to understand the problem in order to fix it.

As we've covered a few times on this blog, things weren't that great in the book industry by the 1990s. By that time, horror was being phased out, fantasy tales were solely aping Tolkien and D&D campaigns, and space adventures were fading out of relevance by the time George Lucas announced special editions to his ancient movies. Before the explosion of Harry Potter to come in the early '00s, kids didn't have much reason to pick up a book, and schools gave them less reason to look them up as a hobby due to the dross they assigned.

However, there were exceptions. If you're reading this then you are certainly aware of what this refers to. Reading wasn't yet completely dead. Today, we are going to talk about one series--the one I believe has the most relevance to what most recent movements to get kids to read again are familiar with. This is, of course, the Choose Your Own Adventure series. This was a mammoth of a franchise decades ago and still has nostalgic cache today. Every member of Gen Y and younger member of Gen X indulged in this series at one time or another.

For those unaware, Choose Your Own Adventure was a series of over 250 books (184 main series and many side-series and spin offs) all written in novella length. They were all pulp adventure stories in different settings from historical settings to space to mythological to spy to mystery and everything in between. The series ran from 1979 to 1998 (there's that year again) and were staples of every library and kid's reading collection at the time. As far as getting children to read there were few series more successful at it than CYOA was.

What made these books work were that these adventures were told in a way that made the reader have to take part in the action. It made them exercise their imagination and engage with the storytelling. Every story in the series contains narrative forks, and you are required to choose which you would take. Your choices directly effect what path you take and what ending you will get. What this means is that the book contains many different versions of the same story where anything can happen, and does. It's a way to make kids who might not find the prospect of reading too exciting more involved in the proceedings. It's no wonder these remained popular even after the rise of video games in the '80s and '90s. It showed you could still do a lot with prose fiction.

If you're thinking this series is similar to the concept of role-playing games, then you are very observant. That is where the series got it's start.


"CYOA has its roots in game theory and role-playing simulations. In 1976, R. A. Montgomery was running Vermont Crossroads Press, a small publisher known for its innovative children’s list, when he was approached by Ed Packard with a manuscript entitled Sugarcane Island. Montgomery, who had been involved in the design of interactive role-playing games in the early 1970’s for both government and industry, recognized an RPG in book form and quickly agreed to publish it. He christened the gamebook series “The Adventures of You." When Packard opted to publish his next book with Lippincott hoping for wider distribution, Montgomery wrote the second book in the series himself. Journey Under the Sea was published in 1977 under the pen name Robert Mountain. Publishers Weekly wrote at the time that the series was “an original idea, well carried out.”

"In 1978, Montgomery sold his interest in the press, but retained rights to The Adventures of You. He brought the gamebook series to Bantam Books, who was starting a new children’s book division. Montgomery signed a contract for six books in 1978, and invited Ed Packard and another former VCP writer, Doug Terman, to contribute books to the new venture. Bantam renamed the series Choose Your Own Adventure."

That's right, one of the most important ad popular children's book series has its foot in RPGs. That may seem a bit strange considering the current state of both subcultures. I would go so far to say that RPGs have otherwise harmed fantastical literature by making them focused on transposed game campaigns and little else. But CYOA didn't do that.

The series was written in second person (one of the few successful uses of it, I might add) but the narrative would unfold like any other book would, only diverting to allow the reader (the one who is "playing" the main character) to choose the action they would take at specific narrative forks. This manages to add flavor to the narrative without making it seem as if it is just a bunch of things happening randomly by dice roll. Book aren't games, and the writers of CYOA understood that. The game influence ends were the storytelling begins. This is why it remains the most popular series of this style of book even now.

Bantam was also clever with the way they advertised the series. First by flooding book fairs, handing free copies to everyone who looked their way, and even created teaching guides. They also numbered the books and gave them a trading card like design, because kids like to collect things. They would later do this to future middle grade books. Bantam went all out on this series in a way you won't see today. They did what publishers are supposed to do--advertise and promote. And not only did they do it: they succeeded.

But a gimmick is still just a gimmick, ultimately. The series wouldn't have taken off if it was merely a bunch of simple choices for he reader to make at narrative forks. A gimmick can only hold a person's attention for so long, but a series that lasted nearly 20 years with over 250 books must have had more than a trick to hold reader's attention for so long. After all, they were still successful in the age of the arcade, blockbuster movies, and Saturday morning cartoons. When people say no one reads anymore because of too much competition, well, that simple wasn't the case throughout the 1980s into the '90s when the greatest toys ever made were being produced on the regular. Yet this simple book series thrived in that time regardless. That alone is a major success.

So what made CYOA so popular? Beyond the gimmick, something had to keep bringing readers back for near 20 years and over 250 books. I suppose if you've read enough posts here then you can probably guess what that might be. 

Here's a hint:


Yes, this exists


It's a series of pulps for kids.

As stated above, there were no "genre" limitations on what could be put out in CYOA. Much like the successful Goosebumps which came years after its creation, the appeal comes from the wild concept that allows the story to go in any weird direction it wants. Kids want escapism as much as everyone else. It isn't like the dreary formulaic pap of modern young adult fiction or OldPub's rapidly closing chain bookstores are carrying anything that bring in new readers. But these books did, and they did it for a long time.

Essentially, Choose Your Own Adventure is the children's version of Weird Tales. When you open an issue of Weird Tales you never quite know what you're going to get out of it, and these books were much the same. It's no wonder they still have so much nostalgia attached to them.

But how are they like pulps otherwise? As an example, let me list out fifty random titles from the series. That is a good enough chunk to get the point across. Put it out of your mind that this is part of a line and just soak in what they are each called. This should help understand just what makes them so similar to a older tradition.

Remember, these all ran from 1979-1998: 

  • The Cave of Time
  • The Mystery of Chimney Rock
  • Your Code Name Is Jonah
  • Deadwood City
  • Inside UFO 54-40
  • The Forbidden Castle
  • House of Danger
  • Underground Kingdom
  • Hyperspace
  • Prisoner of the Ant People
  • The Phantom Submarine
  • The Horror of High Ridge
  • Mountain Survival
  • Trouble on Planet Earth
  • The Curse of Batterslea Hall
  • Vampire Express
  • Treasure Diver
  • The Dragons' Den
  • Secret of the Ninja
  • Rock and Roll Mystery
  • Invaders of the Planet Earth
  • Space Vampire
  • Knights of the Round Table
  • Exiled to Earth
  • You Are a Millionaire
  • Revenge of the Russian Ghost
  • The Worst Day of Your Life
  • The Cobra Connection
  • Treasure of the Onyx Dragon
  • Smoke Jumper
  • Skateboard Champion
  • Magic Master
  • Silver Wings
  • Superbike
  • Outlaw Gulch
  • War with the Mutant Spider Ants
  • Last Run
  • Cyberspace Warrior
  • Ninja Cyborg
  • You Are an Alien
  • Sky-Jam!
  • Tattoo of Death
  • Possessed!
  • Shadow of the Swastika
  • Master of Kendo
  • Killer Virus
  • River of No Return
  • Ninja Avenger
  • CyberHacker
  • Mayday!


As can be gleamed from the above, the CYOA series not only didn't have a strict genre rule, it also didn't strive to "teach" kids and instead let them live out adventures instead. Which is what they wanted. Of course some books would have messages or points to them, that was always the case, but what mattered to the audience was the adventure. This series lasted so long and was so popular because they could do pretty much whatever they wanted.

This is what fiction should be, and what it once was about.

From personal experience I can definitely say these books were everywhere in the 1990s. My fifth grade teacher would give students stars based on what we read, and the CYOA were worth half a star each (due to their length) but kids still read them anyway to accumulate points. Anywhere you went that had a pile of books sitting around, there would be one or two of these familiar slim paperbacks sticking out of it. Even more than Goosebumps, this series was something everyone read, even those who didn't like horror. The impact was hard to ignore, even for my peers. And this was already after they had been out for well over a decade.

You see, it isn't that kids won't read, or engage with old things; it is that they won't read, or engage with old things that aren't exciting. All human beings love adventure, and if they are not given one they will find someplace they can indulge in it. Hence we n one reads anymore. The adventure is gone.

It should be mentioned that this crisis in reading only exists because those in charge of the industry ceased publishing material normal people would want to read. You can do a search for videos on youtube and find all sorts of nostalgic pieces of Gen X and Y adults going on about this series and how much it boosted them up and how fondly they remember it--but many of these same people don't read anymore, or only read old books. In fact, some even collect CYOA now because of nostalgia and the concept, but they have no interest in reading newer books. How can that be the case? Wasn't the series a success? Didn't it make people want to read?

Well, yes, it was and it did. But you might have noticed the dates above. The series ceased being published in 1998, the nadir of culture. Aside from Harry Potter (and its hangers-on, which, let's face it, were read by women, not kids) there was no move to get children interested in action or adventure again. The "Young Adult" demographic became synonymous with soap opera drama focus for horny middle-aged women while middle grade and younger books focused solely on a Peggy Charren-level of Edutainment and propaganda to mold kids into the shrieking pleasant people you see all over social media and in comments these days. Why don't kids read anymore? There isn't anything they want to read, because OldPub deliberately stopped giving it to them. They wanted to "teach" them instead. You have your answer as to why the audience left.

And yet, CYOA still has clout. To bring it back around again, in recent years there have even been game adaptions of old CYOA books such as House of Danger and War With the Evil Power Master. They were successful and, as far as I can tell, well liked. The influence of this series remains intact, even despite ending over 20 years ago. Though it is nice to see the relationship between gaming and writing also is as strong as it was when it all began. Even if each has had negative influence over each other, the truth remains that there is positive aspects to their relationship. This series and its enduring popularity is proof of it.

The secret is adventure, it's action, and it's excitement. You have to instill an excitement for the world around you in your reader. You need to show them there is more than waking up early on Monday and praying the week ends quickly, because there is. That's what adventure is all about and that's why it's so beloved.

Choose Your Own Adventure did that, but for kids. It is fondly remembered so long after ending for a reason, while the edutainment works of the same time period are not. Non-creative people like Peggy Charren should not be allowed to influence creative people or mess with their audience as we can currently see what their input offers. It isn't much. They have no place in this arena, and that becomes more obvious as time goes on.

This success that allows a series to last around two decades, and then be remembered long after, is the result of giving the customers what they want. And yet the old industry insists on not doing that. Is it any wonder NewPub exists at all? It was simply inevitable.


The First 60+ Books

It is fascinating to see how much has shifted over the last 20 years since the Choose Your Own Adventure line folded and reading is on life support as a hobby. While it is still remembered (even getting reprints and games based off of it) it looks like it might outlive the very industry that spawned it and allowed the concept through the door. Very odd, but at this stage, not totally unexpected. OldPub is done and over.

Nonetheless, there was a time when they did try and we'd do our best to remember that for the future. We're going to take what they've forgotten and move forward with it, as it is supposed to be done.

The future is excitement, action, and wonder. Get in, kids. The adventures are endless.




Thursday, September 10, 2020

The Odd Odyssey


Permit me, if you will, to take you back to the past--don't worry, it's just for a visit. Remember the way things once were, and can never be again. It'll all make sense shortly.

Things have changed a good deal over the past few decades. I've cataloged much of what I've noticed on this blog alone, but there remains just as much I don't quite understand or know about. Life is a journey, after all. The actual reason for these changes is obvious by now, those in charge of western culture decided they no longer wanted art and entertainment that uplifted or inspired the audience, but instead needed material that would bring them down and poison them against imagination. Those that can't look up can't imagine a better world than the one they are in. What's worse is that this happened more or less over a single decade, the '90s, and most people actually did notice--they just don't know what it is that changed, or why. Perhaps they were too distracted living their lives, who knows? The fact of the matter is that there is a reason '90s nostalgia has been around since the beginning of the 2000s and has never really gone away.

It will also never go away.

Of course, we can't just say culture detonated in the '90s, but more that it was spared destruction for about two decades from a tiny space battle movie that made it big unexpectedly in the late '70s. This caused an independent explosion of adventure that the Greatest Generation did not ignore. They saw their grand-kids enjoying this stuff, and they worked overtime to deliver the best they were able to. They funded what the audience wanted. The best toys, the best movies, the best comics . . . you name it. The best of the best was created during this time, because that was the creators' jobs. But then they retired during the '90s, and their successors took over. These new people at the switches had no more use for giving the audience what they wanted--now they would give them what they needed. And that is where we have been since.

The 1970s are still looked on by movie snobs as the peak of cinema, destroyed by the aforementioned filthy space movie that opened the theaters of the 1980s to juvenile pap. This is of course ignoring that the 1970s were dead, spiritually, and morally, which makes many of those 1970s "classics" more worthless than the juvenile goofy space movie. It actually has a moral point, regardless of what you think of it. 1970s cinema, as a whole, did not.

If your art isn't about instilling a greater sensation in your audience aside from hopelessness and misery then chances are you are a making propaganda. These pieces might be crafted impeccably, using the right camera moves and clever dialogue, but they're being used to peddle poison. And that subversion took a long time to happen, so you can understand why they were angered so easily by a filthy space movie that was supposed to be disposable trash. This is how fragile this era of "classic" cinema was.

It took 20 years from that nasty space movie, but by 1997 the powers that be had finally wiped adventure and action off the map to get things back on track again. Poisoned with irony and self-seriousness, these newer creators were given extra aid due to the disaster of 9/11 to make misery normal again. They got so good at it they eventually managed to subvert the very same goofy space movie that broke them to begin with, and make it another arrow in their quiver.

This is their victory dance. They took everything from you, so now enjoy the misery. How many times do they have to teach you this lesson? Be miserable and do as you're told so they can teach you how to not be miserable. Yes, they hate you and want you under their thumb. This is why giving them money is counterproductive. They want your soul, not your pocket-change.

It wasn't that things got bad again in the late '90s, it was that bad was the natural state the industry had concocted after the 1950s and '60s. We merely had a 20 year reprieve because of one costly mistake they couldn't have foreseen in allowing one corny space battle movie to be made. They won't let that happen again, and that is why mainstream entertainment from Hollywood to OldPub refuses to give you the hope and adventure you crave. They can only subvert and can no longer create. That era you are pining for is over, and never coming back.

This was planned by those in charge by doing things such as deliberately crushing the mom and pop video market (including family run businesses), buying up independent studios and publishers, and conforming every neighboring industry to whatever Hollywood wanted the industry to be, customers be damned. Their stranglehold ended up strangling their own cash-cows, and they don't even care.

Remember, the Rural Purge in the 1970s did not improve ratings, it had the opposite effect. And yet they trained audiences to think it was an improvement for television, left you swimming with smart programming, and created an industry objectively superior to what came before it. Why were they so eager to imprint that lie into you? It obviously isn't because they want your money. If that was the case they never would have done things like the Purge or allowed the ACT to even exist, never mind giving these destructors awards for killing an entire industry.

But they did all that, didn't they?

Really gets the noggin joggin'.

Now, whether it is because of Cannon Cruisers or my posts here, I don't know, but I have been receiving messages and e-mail from gracious readers giving me suggestions for entertainment to cover. They typically, and wisely, choose content made during that brief window from the late 1970s to the '90s when pulp was king again and exciting art awaited everywhere you turned. You'd be surprised at how much of it there is, because I sure am. I've been looking into some of it and I can tell you: it is guaranteed you haven't seen it all no matter who you are. As I've done some digging from those suggestions from my readers, I've noticed the pattern mentioned above showing up time and time again. These stories just stopped being created overnight in 1997. Things changed so abruptly in one moment that it was outright odd that no one noticed at the time.

From about late-1976 to around the fall of 1996 the majority of popular entertainment, regardless of demographic, was action and adventure in nature. By the end of the '70s the nihilism seeping in since the '60s had been shaken off, but the basic framework of these stories remained unchanged. High concepts, good vs evil, and fun adventure, were the selling points of just about everything created in this 20 year span. And sold they did.

But in 1996 and into 1997 there was a very sudden and strong shift from adventure to soap opera drama. As I said, this change was awkward. It was as if the people making Party of Five and Twentysomething decided they should be in charge of adventure series. The focus entirely changed. None of this was natural, at all.

Should you peruse any list of action and adventure TV shows you will seem the instantly evaporate and completely vanish in 1997. After that point you will find piles of hour long dramas with excessive focus on interpersonal relationships and broken characters, but nothing in the traditional adventure mold about discovering the unknown and clear good fighting clear evil. And then after 9/11 even that style of adventure fiction died out. Though it moved into novels for awhile, effectively chasing that audience away, too. Either way, it was a brief period better left to the mists of time.

The one hold out in these changes I have found were a handful of kid shows from Canada. As said in earlier posts, YTV was one of the last holdouts for this older form of adventure entertainment. These types of series continued a little longer before Nickelodeon and the like swooped in to change the face of the station, choking these shows out by 2001. That also just appears to be the year of western entertainment's final death rattle. A lot of things came together to make things what they are today.

But we've covered that before in other posts.


(1991-1994)


All that said, I decided to take a bit of a detour into this long forgotten era, before soap opera convolution and degeneracy swallowed adventure whole. I did this by looking at a series I hadn't seen since I was a kid. This is going back far.

I've spent some time watching the Canadian family series, The Odyssey, which is available for free on Encore+'s youtube channel. The show had a pilot episode in 1991, then ran for three seasons of 13 half-hour episodes from 1992-1994. Watching this series today feels like visiting another planet in another galaxy. The old system can never make anything like this ever again, and yet this series is completely inoffensive and straightforward.

For one thing, it has a very basic concept. An eleven-year-old boy named Jay wants to get into a club, so he is told to bring something of value to the treehouse in order to be allowed entry. He ends up finding his long-missing father's spyglass and decides to use that for admission, despite the protests of his friend Donna. He gets into a scuffle with Keith, the tough kid in charge of the club, has an accident and falls out of the treehouse. This puts Jay into a coma.

Normally, this would be the plot of a typical drama series today as every character gets into interpersonal drama surrounding this event and we need to know who ends up with who, for whatever reason. However, instead Jay wakes up in a strange pseudo-fantasy world where everything sort of matches reality, but ultimately doesn't. It turns out his long-thought-dead father's spyglass has some sort of magical property and can actually guide him out of this place--back to a world he can't quite remember. He goes off on an adventure with two new friends, who suspiciously look a lot like Keith and Donna from his world, and heads off into this strange, surreal land.

There are only three seasons of thirteen episodes each, and each season has an adventure of its own, somewhat changing in tone with the age of the cast. It starts very much like an eleven year old's fantasy world and by the end matches more the fantasy of a thirteen-year-old struggling to grow up. The quest for home in season 1 takes a turn in the middle, season 2 explores these characters and places we just met while looking for a better solution out of their predicament, and season 3 deals with the fallout of everything that happened. It's quite a tight ship at 39 episodes of half-hour shows and the opposite of how things are done today. They don't ever really tell you what the world is, but they do offer theories far more interesting than the now common and beyond-tired and overused parallel universe explanation, nor does it appear this world is a figment of Jay's imagination due to several hints given. Would the series be done today the mystery and wonder would be torn out and everything would be explained to the letter. For a small family show from Canada there was a lot of effort and thought put into it.

The Odyssey is low budget, even for its time, but it uses what it has well. The show was filmed in British Columbia, Canada, in the early 1990s which gives it a particular feeling and atmosphere. For those who have lived in small towns and suburbs, who have walked back-roads in the country, and remember general life in the west in the late 20th century, this series will give you a strange sense of deja vu. It's a world that doesn't quite look like this anymore. Adults are adults, kids ride their bikes and read comic books, normal is good, and the real world is cherished because it is a place where everything makes sense. It's the world the main character knows he belongs in. It's a whole other world than the one we're dealing with today.

This setting works well in keeping a mysterious tone and delivering a new adventure every week. This series is for younger audiences from back when that meant something. There is no degeneracy to be found, no cynicism, and no pandering to the lowest common denominator. It's just an adventure show. Think series like Are You Afraid of the Dark? and most Canadian kid content from this time. There was a lot of surprisingly family friendly series at the time from Danger Bay to The Littlest Hobo, aimed at kids and family audiences, and they didn't need to be hour long slogs or focus on soap opera drama to do it.  They expected the kids to be smart enough to understand what was going on and didn't need to talk down or pander to them. The Odyssey is a bit like LOST, only without constant mystery boxes are being dragged on for an interminable time. It's about the adventure. Again, it feels like a whole other world then what exists these days.

Despite all that, the series isn't perfect. The first two seasons more or less tell a complete story, but the third meanders a bit as if they didn't quite know where to take it. But it is still worth seeing as a look into the early '90s when kids were still allowed to be kids, and their entertainment didn't have to be about lecturing them or pandering on social issues like they quickly became in the '00s. Each season is also only 13 episodes and half an hour long so it isn't much of an investment, any warts can easily be forgiven. The acting for the kids is also high school play level for the most part, but since its mainly a kid world we're dealing with that gives it its own charm, especially considering the plot and the adventures the cast goes on.

The Odyssey ran from 1992-1994 (the pilot came out in 1991) and it certainly feels like a product of its time, but it's also a time that no longer feels like it happened at all and might have just been a collective dream we all had. This also gives the series a bit of an edge that it didn't have when it was on television. The Odyssey represents travelling to a fantasy world that isn't quite like ours in an attempt to make our way back to reality again. The part no one could have predicted is that the reality Jay is fighting for no longer really exists anymore and is as fictional as the world he is stranded in. The series comes off a bit differently for those who lived in the early '90s looking back on it now.

We truly do live on another planet.


The Danger Bay cast (1985-1990)

We've talked many times about how 1997 was cultural ground zero, and many have argued against it, but it is inarguable when it comes to television. The landscape from the late '70s up to about 1996 all shared very similar traits with each other. 

As mentioned above, the subversives had finally seized control and banished adventure into the netherworld. All family shows either became loud and moronic cartoons, pandering "school" drama shows that propagandize "real issues" real kids never actually deal with in real life because they have actual problems, or create programming specifically designed for each individual member of the family. Degeneracy is celebrated, normality is mocked, and the good is warped in a way that celebrates misery and hopelessness at the expense of any real happiness. None of this is meant to unite, it wedges the family and their interests apart. It's been like this for near a quarter of a century now, and the audience for it no longer exists.

What replaced them after 1996 were just cheap copies with less to offer. Don't believe me? Then ask yourself why those who watch these newer shows will talk your ear off about character relationships and funny dialogue but will mention little to nothing about the actual adventures they go on. Because the focus was changed from the focus on the exterior to the interior. You can't make adventure insular, so they made them into soap operas instead. Who is going to have sex with who became more important than stopping the villain from destroying the world, no different than what grandma used to puzzle over when she tuned in to General Hospital every day. The mundane became elevated over the wonder. Normal people are no longer "interesting" enough to follow on the journey. We need hot messes that may or may not want to be fixed to be the leads in our adventure stories now. This hatred of the norm has since embedded itself in our stories and has been there for over two decades. It's no wonder so many cannot diagnose the problem.

Is it any wonder we're all so miserable all the time? We've rejected true escapism for "realism" and the mundane. 

All that remained of adventure stories were glorified soap operas that were twice as long as they needed to be that focused more on mundane inner things like going to school or worrying about sex than the outer journey of exploring the unknown. The only ones still doing that, ironically enough, were the Canadian family shows that went on a bit longer than everyone else did. They finally gave up the ghost in 2001, and I think we all know why even they stopped, at that point. Hope, creativity, and excitement, are not things the 2000s were known for. Hence why there is no 2000s nostalgia, and it will never really become a reality or larger movement. There's nothing to be nostalgic for.

The constant need to reboot these old things is the result of several problems going back in western culture. All those problems of the 2000s still exist today. You need more than "better" products to have a proper nostalgic movement. They might try to remake some of the entertainment from that time, but that's as far as they can go. There is nothing else to bring back.

It is easy to see that Hollywood isn't remaking these things because they have fond memories of them; they wouldn't be altering and warping them under the guise of "modernizing" the works so heavily if they were. They are trying to remake the wholesome in their own image as broken and decayed. This is why every one of these unsuccessful reboots that have popped up over the years contains only the shell of what you love, but under the skin is pure rot of the kind that reminds you why no one wants these creators' new stories. They are reduced to Trojan-horsing this garbage into your mind now. This is how far they've fallen.

They have to use nostalgia because tricking you to drink their poison is the only option they have left. They can't create anymore, because they've taught themselves not to for so long. They've run out of gas using the same trick for over twenty years, so now they have to use old properties as puppets to sell you their "creative" ideas.

And this doesn't work. While some might have swallowed the pointless Battlestar Galactica reboot a while back, even though it deliberately went against everything the original did, the main audience for these things has since caught on to what is happening. Where the fanatics are finally catching up with, normal people already see this game for what it is. That trick isn't going to work again. Things aren't the way they used to be even five years ago, and audiences are no longer willing to put up with trash wrapped in a pretty bow. They demand more, and if Hollywood and OldPub aren't willing to give it to them (and they're not) the audiences are just going to walk away from them. They already have, and the pain is being felt.

This is what makes the rise of things such as NewPub so exciting. It is a return to the audience first mentality that has long since been lost by the old guard i their quest for impossible utopianism. We're now on an odyssey of our own, just as Jay was, to find our way back home. We're going to find what it is we lost, and make it great again.

What will we find when we get there? I don't know, but it's sure to be an adventure.