Experience And Exploration

As often is the case, Serdar and I were discussing media and creativity, centered around exploring media properties. I was discussing how I enjoyed “Lower Decks” and how it explored elements of the Star Trek universe that needed it. He noted missed opportunities. This got me thinking (which obviously, as usual, turns into something like blog posts).

I began thinking about “universe” projects, projects that involved a deep exploration of the setting and often via multiple books, movies, etc. When you have a big setting to play in, there’s a lot one can do. What one choses to do on the other hand can vary.

First, the universe one creates can be explored. You can understand the repercussions of the world(s), track cause and effect, dive into possibilities and results, and so on. A setting can be a huge playground that lets you do all sorts of things – often to your own surprise. It’s a place to ask “what if” and see where you go.

Secondly, a universe can deliver experiences. Settings with a given flavor allow you to have certain feelings, scenes, and so on that are desirable to you and the audience. Settings have certain emotional, cultural, and psychological resonances that some will want to experience. They can deliver the “hits” people want.

In any media franchise, big-universe project, single-setting series, creators can deliver both. Now I am biased towards exploration but the experience is important because sometimes that “feel” is what helps you get the exploration.

However I think we see that big, corporate-owned franchises tend towards the experience part of the equation. The big universes create certain feelings and people want that. Companies want to make money, so they deliver said experiences If you explore too much, you risk changing things and not delivering the experiences people want.

We’ve probably all seen cases of series, series endings, books, etc. that explored a bit too much for people’s expectations because they were used to things hitting certain emotional resonances. I could point to recent examples, but it would A) date this column, and B) probably make some people I know mad at me.

But you set some expectations, don’t allow too much change, and that happens.

On the other hand, we’ve also assuredly seen cases of big, moribund media franchises getting a chance to explore and going hog wild. I’ve sung the praises of Star Trek: Lower Decks because it “went there” on so many occasions I really felt things – and it somehow delivered the Trek experiences I’d come to expect. I feel the positivity towards The Mandalorian was well deserved – especially as it’s thematics of a slow-moving character drama seemed at odds with much of Star Wars media.

I mean I didn’t care about Star Trek and still don’t care about Star Wars anymore and I’m praising these works.

The Exploration and Experience labels give me a better way to understand media and creation. I consider Exploration to be valuable – it’s what I’m inclined to do and if part of the value of fiction. I consider a focus on Experience I can be a trap – but also that you need a certain “feel” to communicate the Exploration part I love. I’m not saying they’re equal or opposites, but useful tools.

Now I wonder how I’ll see various media differently.

Steven Savage

The Past Is Raw Material

(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

Last column I wrote about my love for Star Trek: Lower Decks, considering it a capstone to Star Trek. I felt there was no where for Star Trek to go after this, as it was both parody, home, and extrapolation – somewhat like a more serious Venture Brothers. The announcement of yet another Trek series set at an the (in)famous Starfleet Academy didn’t interest me unless, as I joked, it was more in the vein of college comedies like Animal House.

That statement led to some friends and I to an actual serious discussion about how yet another Star Trek show (which, again, I should note I’m usually tired of) might work out. We started asking what it would be like to see more focus different species and cultures in the Academy, really digging into the meandering if interesting Trek lore. In short, we did what Star Trek: Lower Decks had done, just in a different part of the setting.

Also, it will surprise absolutely no one who knows me that it made me further analyze the state of media.

I looked at our brainstorming and at Lower Decks, both taking established ideas and digging deep into them. Both involved mining current material I would consider stale and often overdone, and finding new takes. Both in a way treated something beloved – and rightfully so even if I have felt it’s overdone – and using it as raw material.

As much as I love original media and want to see new things, perhaps there is some virtue in treating creative works that might be stale, stagnant, or that have lost attention and reusing them. Treat them not as something to be devoted to, nor sit on a shelf, nor make endless sequels about – with all the rampant continuity modification. Treat it as something to be recycled.

I’ve written before about the shockingly good He-Man CGI reboot at Netflix which did exactly this to fantastic effect. We’ve seen the same thing with She-Ra– which perhaps suggests that many a toyetic cartoon is worthy of recycling. Something can be beloved and reused.

(Now I don’t expect an actual Star Trek total reboot, Paramount more seems to be trying to rewrite it incrementally. But I digress).

I think this “recycling” works because by taking something you love, analyzing it, and breaking it down you find what’s really good about it. Once you find that core, you can then build it back up again into something amazing – and perhaps better than the original, or at least more relevant.

Perhaps such thoughts are less relevant in the current media environment, of cinematic universes and suddenly-canceled brilliance. It’s also less relevant in an age of political and climate chaos. But perhaps if we can find the heart of something forgotten or overdone, maybe we’ll find something out about ourselves as well.

Steven Savage

Wondering How Long We’ll Care

(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

We’ve got the SAG-AFTRA strike.  Big Studios and groups like Netflix seem to be very interested in replacing real people with AI – and we know they won’t stop no matter the deals made.  Ron Pearlman and Fran Drescher are apparently leading the Butlerian Jihad early.

As studios, writers, and actors battle I find myself caring about the people – but caring far less about the media produced.  There’s so many reasons not to care about Big Media.

You’d think I’d be thrilled to see Star Wars, Marvel Comics, and Star Trek everywhere!  But it’s so many things are omnipresent it sucks the oxygen out of the room.  Even when something is new, it can be overhyped.  If it’s not everywhere, it’s marketed everywhere and I get tired of it all.  Also damn, how much anime is there now?

The threat of AI replacing actors and writers removes that personal connection to actors and writers and creators.  There was already a gap anyway as groups of writers created shows and episodes, abstracting the connections with the creators.  The headlong rush into AI only threatens to make me care less – I can’t go to a convention and shake hands with a computer program or be inspired to write just as good as a program.

We have plenty of content made already anyway.  I could do with a good review of Fellini, maybe rewatch Gravity Falls again, and I recently threatened to watch all of One Piece for inexplicable reasons.  Plus of course I have tons of books.

Finally, there’s all sorts of small creators new and old I should take a look at.  Maybe I don’t need the big names anymore.  Hell, the small creators are easier to connect with.

Meanwhile all of the above complaints are pretty damned petty considering the planet is in a climate crisis and several countries are falling apart politically and economically.  I’m not going to care about your perfect AI show when the sky turns orange because of a forest fire.

I have a gut feel I’m not alone in the possibility of just kind of losing interest in the big mediascape.  We may have different triggers for giving up, but there’s a lot of possible triggers.  Plus, again, potential world crises create all sorts of possibilities.

Maybe that’s why the “Barbenheimer” meme was so joyful, with people discussing these two very different films as a kind of single phenomena.  It was spontaneous, it was silly, it was self-mocking.  Something just arose out of the big mediascape (and two apparently good films), a very human moment it seems we’re all too lacking.

Maybe it’s a reminder we can care about our media.  But it the chaotic times we face in a strange era of media, I wonder if we’ll remember it as a fond exception.

Steven Savage