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I'd indeed agree that poor political framing is deliberate because it minimizes people getting their feelings hurt and maximizes profits and audience (most of the time; you still have things like "Don't Look Up"). Imagine if Captain America Civil War actually included a more potent anti-UN arguments. You'd get a lot of negative news coverage, distracting from "Spiderman shows up and fights . Is this corporate greed and cowardice, or is it something more particular to the screenwriters and directors? Probably both, but I actually think the people themselves (whether you think this is corporate capture or not is a separate question) are choosing to enforce these hedges. Like many movies with fantastical/superpower/supernatural/advanced sci-fi elements, it's a work of fiction and escapism and spectacle, and the hard part is finding the right balance between these things. Which is actually hard. For example a too-grounded superhero film can exist (Logan maybe?) but requires much more character work, and risks boredom if it fails. A too-much-CGI film can flop, even if the CGI is good, because on some level it strays too far. Oh, but wait, if it's sci-fi, you can get weird again, but wait, you still have to anthropomorphize things to a certain extent, and you still can't get too weird or it sounds like bad writing even if there is an interesting deeper meaning. Hard to pull off. At some point "vibe" starts to matter which goes beyond just the script itself. District 9 is perhaps one of the few, very few, sci-fi films that successfully marries weirdness with actual groundedness.
I actually think the middle fight scene in Civil War at the airport is a great case in point. We go into Civil War excited for some Captain America as a character, and we know he will work at solving some mostly-solvable problem. We go in excited to see Spider-Man and Cap fight it out. We go in curious what might happen with conflict between "good guys". Fans might be wondering about the aftermath of the whole Hydra thing from Winter Soldier and other plot points. We get this! In the airport scene, we also clearly get the violence pulled back. Anytime it gets too real especially in the side cast, we get a joke, but one that's usually topical enough it doesn't feel like a total distraction (though it actually is). It is entertaining, and it mostly works. We already have accepted that kids are a prime audience for the movie. In fact, making things kid-friendly is probably part of it. Nothing exactly forbids a kids movie from discussing real-life, difficult questions, but it's harder to pull off, harder to market, and if we're being honest kids don't generally want too-hard questions in their movies. That's an adult thing. So an R-rating is an crude and easy proxy for adults to pay attention, even if it isn't strictly necessary.
I agree that personally, I find conflicts in fiction without clear good-bad divides and more than 2 factions incredibly enjoyable on average. I do wish there were a bit more of it. But also ask yourself, have you ever shied away from watching a movie because it was too explicitly political? Even if it didn't line up exactly with current attitudes or parties? I think that experience is more common than many movie-goers would let on.
I do circle back to District 9, actually, as an example of what I assume you want more of. Have you seen it? How did you feel about it? Can you think of similar others? The only ones that spring to mind are maybe things like Minority Report, Children of Men, V for Vendetta, maaaybe Dune 2.
I definitely agree with this. Especially for franchise films, they want a simple non controversial film that nobody in the audience can find a reason to dislike. It’s one reason I’m mostly over big franchise movies and TV — they’re so busy protecting their brand that they’re mostly bland and boring with very few things that are difficult to understand or too political. Making people think often means some in the audience might get confused (even more likely with the international audience) and if you say something political (outside of DEI inclusion) you run the risk that someone in the audience might disagree which would mean that person will not be there for Big Franchise: Subtitle. Most of them have become so overtaken by corporate that they’re paint by numbers, cohesive stories, good actors, or realistic fights be damned. They’re McDonald’s or Burger King at this point, and you won’t find anything that has a strong taste because there’s a chance someone might dislike the taste.
This is a huge parenthetical. They're definitely alienating people with the way they're doing this, consciously. And it's not just about the inclusion, it's about the very intense way in which they're doing that inclusion and how communicating the right message flows through everything that gets made.
I think there's a lot of paint-by-numbers going on, but I'd remind you that the most controversial movie of the past decade was almost certainly The Last Jedi, which famously had an auteur who deliberately made unexpected, confusing, and ✨subversive✨ choices that alienated people and damaged the brand. There's a lot of both going on; the only constant is DEI.
I think some of it is true belief, but some of it is also artsy people(the sorts who direct movies) having different tastes than the general public(source: visit an art museum), and DEI is a convenient way for those people to shield themselves from criticism.
When I was a youth the 'in' thing for artsy types was to look down their noses at Michael Bay movies, which nevertheless sold like hotcakes. The 'designated cool grownup' teacher when I was in high school explained to a group of these kids like thus- "I know, when I go to a Michael Bay movie, that I'm going to be entertained. It's going to have action, the plot might not be great but it'll be passable and at least a little bit compelling, there's going to be a lead who actually does something, etc. I'm a teacher trying to support a family and have to choose which movies I pay to go see and I don't know that Oscar-bait is going to entertain me, but a Michael Bay action movie will. Therefore, like many others facing that decision, I see Michael Bay movies." I'm paraphrasing a bit, but the truth is that the general public and art people have different preferences. And artsy types generally resent being expected to earn a return on investment for their employers, and employers famously at least claim to put DEI before profits, so telling an artsy story about black lesbians is a way for artsy types to make their movies art and not business.
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At this point, subversive isn’t even really subversive because it’s almost a trope. If there’s a single set of heroes or archetypes that haven’t been “subverted” by now I’m not really aware. The subversive thing for the modern deconstructed media landscape is actually playing it straight, having a hero who’s actually a decent guy and a villain who’s actually bad and actually doesn’t have a point to make, and a plot that actually makes sense.
Watch some anime.
A recent example I'm thinking of is Frieren, where - minor spoilers - it turned out that the demons actually were bad. That is, the story didn't follow the "what if the bad guys were actually good and the good guys were actually bad" subversion seen in, for example, every single webcomic that ever included an orc and/or goblin: instead of being different-looking people wrongly oppressed for looking different by the retrograde powers-that-be, they are actually inhuman predators who exploit the former mode of thinking.
On some more-progressive corners of the internet (I saw kerfuffles in threads on RPG.net and SomethingAwful) this made (a minority of) people upset for being a racist idea. Racist against what group, exactly? Well, it wasn't that: it was just that the idea of irreconcilable differences existing between groups that could (apparently) communicate with each other was too dangerous to be entertained at all.
I think that betrayed a weakness of faith in anti-racism on the part of the people who said that. Frieren demons are clearly unlike any real-world humans, and thus their example should be a positive thought-experiment for coexistence in our world. One thing I like about fantasy and science fiction and so forth is its utility as a lens upon our own world: it lets us consider what things would be like if something we believe is true were different. What would things look like then? If they're necessarily obviously different, then perhaps your beliefs have stood the test. If the result seems more like reality than your understanding of the real world does - then perhaps you've learned something, too.
Arguably sociopaths. My understanding of demons in Frieren is they evolved to lack empathy. They understand that humans will lower their guard if you tell them your parents or your children died, but they don't fully understand why because they can't feel familial love or sadness. There's even a demon who is portrayed slightly sympathetically as he alternates between helping and torturing humans because he's trying to see if he can experience emotions.
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A lot of people are unable to consume media in this way. If a piece of media says something is true in this fictional hypothetical that wildly diverges from out world, they are trying to say it is also true in our world. So, Starship Troopers a story about a united humanity fighting against literal bugs is really promoting racism and white supremacy in our world, despite it's protagonist being Filipino.
It's similar to people who argue against the hypothetical in thought experiments. They seem to believe worlds in which their current politics fail just can't exist and anyone who would think up such a world only does so to push evil beliefs in the here and now.
In the defense of midwits, people who argue against the hypothetical intuitively sense that the other party is trying to convince them of something, and that is always unambiguously suspect, so it's better not to give the other party an inch.
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I'm reminded of the thread spawned by this Tumblr post, which begins:
It also addresses sci-fi — specifically Mass Effect — as also problematic for having different alien races be, well, different:
In short, treating differences between thinking beings as anything other than purely cultural is Problematic.
I don’t know how else you’d handle magic creatures or aliens. They’re not the same species. Orcs are specifically not humans, and neither are elves. Klingons aren’t humans. And as such saying that an Orc or a Klingon doesn’t act like a Southern California PMC half wit isn’t quite the same as being a racist.
The things that make me uncomfortable in those settings is less that Orcs act differently than humans, it’s that all orcs have the exact same culture and belief system and nobody rejects it or questions it. Humans are certainly one species, but we are different and have different opinions and cultures and religions. Or maybe I just wonder what a hippy orc would be like.
Per your second paragraph, on the sci-fi end, this is why I think DS9 was one of the best Star Trek series — the stationary setting, longer story arcs, and (particularly in later seasons) less reliance on Negative Space Wedgie or Strange New Life of the Week stories (though there's still quite a bit) allowed it to get further away from the "planet of hats." We get Bajoran political and religious disputes, Ferengi feminists, Cardassian dissidents of various stripes, and even a Klingon restauranteur who played a concertina-like instrument as he serenaded his customers. And as for D&D specifically, this isn't nearly the issue that some critics make it out to be, as Samueldays touches on in his reply to that Tumblr post.
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The female Ghostbusters was within the last decade.
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