Why Do SJWs Turn Everything into A Comedy?

From Teen Titans, to Thundercats, to Marvel movies, and Star Wars…why do SJWs feel the need to turn everything into cringy comedies? There’s been an odd trend coming from left-wing showrunners, and that trend is to turn everything into a comedy. We’ve seen this several times, where a fully developed franchise is gutted of its depth and left with only comedy. Of course, there is a long list of genres that cover a long list of interests, but something all the greatest works have in common is balance. A good work may be decent enough to pass as worthwhile entertainment. A good action movie, for example, will have all the necessary gun battles, explosions, and megalomaniacs needed to keep its target audience engaged until the end. A good romance will have a handsome love interest and a relatively average main character with dreams of a better life and who’s interior beauty will become exterior beauty by the end. Both good.

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Why Being Inclusive Fails

Inclusivity is one of the latest buzzwords ruining movies these days, not only story and character, but box office returns. The people in charge of the Star Wars franchise, for example, took their multi-billion-dollar investment and decided that the fanbase the Star Wars name had amassed over the decades were no longer their target audience. Their new target audience would be people who were either never interested in or had never heard of Star Wars. Why? Well, by adding a female Luke, a pansexual Lando, and a patented left-wing non-threatening black guy…their goal was to make the beloved titan of a franchise more “inclusive.” And three movies were all it took to tank Disney’s credibility. It sounds good to say your movie is “inclusive.” It makes you sound tolerant and understanding, which are all the rage these days. And as we continue to see these people try to make everything “empowering” and “accessible” it becomes clearer why many of these

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Why Forcing Diversity Fails

Every writer has their own process, but with many writers I’ve known, new characters often start as a collection of traits before they become an actual “character.” In fact, there are entire tropes dedicated to this idea. The Five Man Band, for example, is a good starting point for writers wanting to create a story involving a group of protagonists instead of one central character. The Band includes the following: The Leader – The hero of the story The Lancer – The contrasting character to the hero. Often the best friend or rival The Smart Guy – The go to character for exposition and for formulating plans The Big Guy – The toughest character The Chick – The emotional heart of the team These are easy, workable templates for any writer of any experience level. But, again, these are only starting points. A character needs personality, motivations, likes, dislikes, virtues, flaws, and values. These details make them unique and relatable

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