Social media is buzzing about a disturbing, but not necessarily new trend–the cancelling of sapphic television series, especially on streaming services like Netflix. "Sapphic" refers to content "of or relating to sexual attraction or interplay between women," and disgruntled and confused viewers aren’t seeing enough of it. They point out the short-lived nature of once-popular series such as The Baby-Sitters’ Club (2020) and Paper Girls, to name only two.
Even more disturbingly, some series that might not be called sapphic, but are certainly women-centered, have been cancelled, were panned by critics, or have disappeared into long hiatuses. (See Gilmore Girls: A Year in the Life, Chilling Adventures of Sabrina, and Anne With an E for examples).
Discuss why these series, especially on Netflix, might have been disproportionately represented on the chopping block. Do the "powers that be" see women-centered content, particularly the sapphic, as a threat, and if yes, why? Do cancellations happen just because of the nature of Netflix–shorter seasons and encouragement of "bingeing"–but if yes, why is male-centered content not cancelled as well? Do female viewers want different types of content, and if yes, what do they want? What would it take to bring female-centered shows, sapphic and otherwise, front and center on streaming services again?
This is such an important topic! It’s also important to compare it to other queer works released, especially ones about white gay men and explore how bias and discrimination plays into it – Anna Samson2 years ago
It occupied television screens for fifteen years, and two-and-a-half years after concluding its run, it’s still inescapable on social media. Debuting in 2005 and finishing in 2020, Supernatural was an incredibly long-running series about monster-fighting brothers Sam and Dean Winchester. During its run, the show’s immense popularity was demonstrable not only in how long it remained on air, but in the overwhelming presence it had in online fandom spaces. However, despite the love for Supernatural during its run, the show has left a very mixed legacy in recent years. Many fans criticised the show’s last three episodes, with particular critique going towards Castiel’s death moments after confessing his unrequited love to Dean. This criticism has spilled over to Supernatural’s prequel/sequel series, The Winchesters, which has received low viewership numbers, despite the star Jensen Ackles’ involvement in the production. Real-world events, from co-lead Jared Padalecki’s exclusion from The Winchesters to international dubs altering Castiel’s love confession to be requited have contributed to discourses surrounding Supernatural. On the flip side, however, other shows involving Supernatural’s main cast – Jared Padalecki’s Walker, Jensen Ackles’ The Boys, and most recently, Misha Collin’s Gotham Knights – have all achieved high viewership numbers and/or seasonal longevity, suggesting that fans still hold great affection for the series and its stars. The proposed article would explore the legacy left by one of the CW’s flagship shows.
One of the things Supernatural did right was pay attention to its fans. The actors and writers had good friendly relationships with their fans - there's a variety of Moments at conventions worth considering for this article - and they put homages to the fans in some of their episodes.
Then they proceeded to not do a couple of things some of the fans would have wanted them to do, like make the Destiel relationship fully canon. Part of the disappointment was probably based on a perceived betrayal of the fans' trust.
The things fans liked about their fifteen-year relationship with the show have persisted after the show ended, and therein lies the show's legacy. – noahspud1 year ago
The Peripheral (2022) is a recent sci-fi TV drama series based on the book by the same name by William Gibson. It was developed by Westworld creators and has a similar aesthetic. The series is set roughly a decade in the future with a focus on how technology can change society (similar themes to Westworld), but primarily follows the creation of an alternate reality that a VR gamer gains access to. The main narrative begins in the Blue Ridge mountains in the USA where Flynn and her brother Burton accept an opportunity to beta test an advanced VR game.
What is interesting about The Peripheral is that it is Hard Sci-Fi: it includes alternate realities, consequences of technology, dystopian societal states, VR, body modifications and nanotechnology. Throughout the show the technology both in the near future reality in USA and the futuristic capital of London is based in scientific developments that are a mere step from our present. The extrapolations are linked to scientific discovery and justified well within the scope of the progression in the series. By beginning in a more relatable near future with the slow introduction of different technology, the viewer is lead smoothly and easily into accepting such technology as a reality within the context of this series. The careful handling of the plotting allows even the most mainstream viewers to be eased into what is basically Hard Sci-Fi.
This is a very brief overview of a complicated progression through a series that makes every hour episode feel like a movie with the density of events and character development. It would be interesting to map this more fully, and explore the actual progression of how and in what order different technology is introduced and explored to help scaffold a viewer’s experience of being eased into Hard Sci-Fi. It is also an interesting series to look at how the handling of futuristic Sci-Fi can be managed without becoming disjointed or pretentious (for instance a comparison to MoonHaven would be interesting to explore). Finally, the series eludes quite strongly to the consequences of our current state of affairs with the Jackpot and an analysis of the implications of this to where we are currently located would be interesting to explore the extrapolation of a near dystopic future of our actual world.
Along with medics and police officers, lawyers are the most portrayed professionals in movies and TV shows. This portrayal, most of the time, is not very favorable because society at large sees lawyers as deceiving and cold-hearted. Professor Michael Asimov, who dedicated a great deal of research to the representation of lawyers in film, contends that lawyers in solo practice are usually depicted as more upright or honest than law firms, which are definitely seen as an “embodiment of evil.” After the final season of “Better Call Saul,” this affirmation is more likely to be demonstrated. As a solo practitioner lawyer, Jimmy McGill daily confronts the obstacles that his brother and his gigantic law firm put up for him. Kim Wexler also realizes that law firms are usually at the service of huge corporations and powerful people who systematically oppress and crush the poor and marginalized, so she decides to do solo practice. An analysis of this TV show’s takes on lawyers and law firms could definitely be something interesting, especially if it stays away from the habitual subjects that people associate with this show (drugs, cartels and crime).
Within the last two years we have received two horror video game inspired TV adaptations, one that was a smash hit, and one that flew under the radar. Neither of these shows stuck 100% to the source material so what made The Last of Us succeed and Resident Evil fail?
I don't think this is the place for an opinion piece, but you could still approach the topic from the perspective of the overall necessity of adaptations or the art of adaptation. Something more objective but focused. I hope that helps. – Leo Panasyuk1 year ago
Analyze the accuracy of TV and movies that are about policing. A lot of these shows/movies display place work as light-hearted and fun. Some examples are Brooklyn 99 and ride along. Even though both are clearly comedies, impressionable viewers might think differently about policing.
Certainly there are comedies that portray the police as a “light-hearted and fun” profession. But there are also dramas and thrillers that portray it as brutal and corrupt. Depending on the genre, a movie may portray a profession under different lights. The question is: Is accuracy the goal of a movie that portrays a profession or is it the telling of a story under certain genre principles? I think that handling viewer perception is a different issue that falls under an “education” problem that is out of the hands of movie producers or directors. Or it could be a discussion about artistic responsibilities and their impact in society. – T. Palomino2 years ago
They certainly do. Different perspectives are pushed out, and you go through those perspectives while watching the film. Therefore, even unrealistic circumstances which happen in the movie can be interpreted as very real or vise versa. – AchuB2 years ago
I divide police TV series into two categories. Shows that use the police universe as a source of occupation/physical setting to tell a story about a specific character or multiple characters (I.e Blue Bloods) they do touch on what it is like to be in Law enforcement but are not an accurate or real representation of the work that Police Officers undertake. Then I see the premium police (dramas) series like NYPD Blue, Homicide on the Street, Prime Suspect (UK) and the like to be a real insight into the work, the police force/department as an organisation and the nuance of everyday police work. – NatalieB2 years ago
I like this topic, but I think you could go deeper. Certainly these shows could make viewers feel that policing is a more lighthearted and fun profession than it actually is, and that deserves analysis. But at the same time...what should police comedies, and darker/edgier police procedurals, do in response to this, if anything? How can, or should, shows like Brooklyn 99 balance comedy and reality? Considering how police are viewed right now, and what officers and their families go through, what should police shows in any genre look like (should they go for comic relief, or stick closer to reality)? Consider these and any other questions you might come up with. – Stephanie M.2 years ago
I like this topic very much and think you are on to a great idea here but expanding on the concept would be much more helpful. referencing more shows and particular parts would go a long way – Josephrogers132 years ago
I definitely see where this is coming from and I think in today's socio-political climate it's necessary to produce shows that portray police and other such authority figures in a more critical light. Not something that's realistic (more or less) like The Wire or something more stylized like True Detective, but something that can force a conversation about what modern policing has become (militarization, over-policing communities of colour in response to non-violent protests, etc.) – LeoPanasyuk1 year ago
Half of Americans say they enjoy true crime and women are more likely than men to really dive in. Lately, it’s as of every other show on all streaming platforms is another deep dive into a true crime murder mystery. True crime series have become a staple in entertainment but why? What is our obsession with death and the events that surround it? Do we truly believe this could help solve cold cases or is there something much more primal laying beneath the surface?
Examine the first season of HBO’s House of the Dragon, comparatively with the first few seasons of Game of Thrones. Something that is dearly missed is the sense of humor and witty dialogue. There is no Tyrion-adjacent character, not nearly enough dialogue and japes and sardonic moments, or Bronn-esk side characters. By no means did the humor lessen the impact, popularity, and fairly book-accurate depictions of the Game of Thrones TV series (not including the final seasons). Why is House of the Dragon choosing to be so grim? is it taking itself too seriously? will this effect its success? I’d love Fire & Blood readers to potentially lean in on this topic as well. It’s a very different style than the main SOIAF series, so does it warrant the TV adaption being so serious?
