KALOPSIA118

Love this piece. Both the novel and the film reveal a lot in how respective individuals react to the story. I know many men (and unfortunately some women) who had reactions similar to what the author describes. However, I also know men and women who view Amy as the hero of the story…

I like to think the change has been driven by how people don’t have distinct definitions of family, at least in my own experience with my peers. It’s not so much an acceptance and recognition of “alternative families” and traditional ones, so much as a fundamental shift in how we perceive family conceptually. In simplest terms, I think people recognize the fluidity and flexibility in how family can be defined.

I’m inclined to think this is a product of numerous issues intersecting (economics, disillusionment with the aforementioned nuclear family, changing attitudes towards LGBT culture, feminism, etc). While some seem to view this shift as mere political and social statements made by television creators, I think this is simply a reflection of our times. We’re seeing families change in television because we’re seeing them change in our own lives.

I think this is a topic that has layers. I think one of the larger problems is the pervasive information the public is given on the future of a given franchise. It’s hard to feel anything about Superman’s death when we have already learned of the plans for future instalments from both the director and stars (though that was the least of that film’s problems). Marvel has a similar issue with continuously laying out its plans for future phases in order to build excitement in its audience.

On a more creative level I think it’s time for storytellers to challenge themselves in finding other ways to raise the stakes and create drama beyond killing off characters, especially in mediums where this is easily rectified with a “reset”. Alternatively, they could also make the bolder choice of sticking to their guns and making a conscious effort to make death lasting, if not totally permanent. This is especially true in comic books where changes to the status quo are temporary and subject to change based on both reader reactions and (above all) sales.

As audiences become smarter, storytellers MUST find ways to challenge, subvert, and otherwise surprise audiences if they wish to be engaging.