the Abrams-ification of American genre-fiction

Today’s best sentence goes to Alyssa, on Star Trek Into Darkness and Damon Lindelof:

I’m absolutely down for defending the first-class status of genre fiction that boldly goes where no or few stories have gone before. But if you think that working science fiction and fantasy relieves you of your obligations to coherent plotting and character behavior, or if it’s an engine to deliver free naked ladies, then you can stay in your mom’s basement, and off my bandwagon.

Lindelof is Abrams’ writer, but this sentiment I think gets at the Abrams problem, for me. Together they’re making okay movies that are decreasing what is special about sci-fi/action/fantasy genre goodness. I have written here previously on what I think of the ascendance of J.J. Abrams in the cinema of American science-fiction (to sum up: he produces interesting shows but he’s not a great director; his toolbox is limited; he’s blanded up Star Trek, and will probably do the same to Star Wars).

We are living in a wonderful era of science-fiction, fantasy and genre in film and television. There are creative men and women producing valuable, insightful, strange, funny and brilliant work. There are also plenty of genre properties to go around and enough writers and directors to spread the wealth. I don’t see why J.J. Abrams and his team have been gifted the two most famous genre properties of all time. Anyway.

We consumers of that genre work should demand the highest quality. If we do, we will be rewarded.

When Star Trek was Star Trek
Malick’s Wonder and Abram’s Darkness


One response to “the Abrams-ification of American genre-fiction

  1. Pingback: Abrams will direct Episode VII, says Lucasfilm | Third Ten Million Years·

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