Article
Culture
Film & TV
5 min read

The death of Hollywood

Out of the ashes, new stories will rise

Theodore is author of the historical fiction series The Wanderer Chronicles.

Studio executive's react.
Seth Rogan's The Studio, a Hollywood satire.
Apple TV.

There is no more obvious sign of the ailing of the Hollywood behemoth (if not to say, its actual death) than the utter failure of Disney’s latest live-action re-release of Snow White

According to Forbes, Disney’s total investment in the movie, including production and marketing, likely exceeded $350mn. To break even, it would have needed to take around $500mn gross at the box office, after distribution and movie theatre cuts. To date it has made just under $200million. 

If nothing else, that is a tremendous waste of money. But the essential problem seems to have been that the movie’s creators were trying to bend themselves (and the story) into pretzel-shaped contortions to satisfy the various demanding (and contradictory) ideological axioms of LalaLand. The result? Not only do they fail on their own terms: a movie about a young princess finding her inner girl power and leading an oppressed people to overthrow a tyrannical autocrat ends by setting up a new regime under one unchallengeable and all powerful ruler: a system of “Snow-White Supremacy”. It also fails on the archetypal axioms of story. There’s a reason why parents still read to their children the traditional version of Snow White, which scholars believe to be so long-living and so “true” that its roots seem traceable as far back as Ancient Greece. Modern storytellers mess with that long lineage of audience appeal at their peril; as no doubt several Disney executives have now found to their cost. 

Last month the veteran Hollywood screenwriter and novelist Andrew Klavan concluded, after watching the last annual offering of glamour-slick virtue signalling that is the Oscars, that Hollywood is indeed a dying beast. He argued that the collective movie-making culture has become so captive to a certain ideological mindset that it has prioritised that over the more basic and primary objective of telling stories. When ideology overrides the essence of storytelling - delivering stories reflective of life as it actually is and as we find it - then the art suffers and audiences instinctively turn away.  

Why? Because we all come to stories to find truth (even if it is dressed up in the “lie” of fiction). The problem with the ideological mindset approach to storytelling is not that it does not start with good intentions (let’s say a value like “compassion”); but that it drives towards and ends with outcomes very far from life as we know it to be. So, for example, compassion for allowing female-identifying men into women’s sport ends up with Olympic crowds applauding a man punching various women in the face to earn himself a gold medal. Or well-intentioned young people marching throughout the cities of Europe in support of terror groups who behead babies. There is a cognitive dissonance between the makers of movies imbibing and propagating this sort of mindset and their audience of millions. 

No wonder those audiences are tuning out. Because the central thing that people want from art are good stories. Good stories make us nod and say: yep, life is like that - however far-fetched the premise or the setting may be. Bad stories make us feel like someone has tried to sell us a lie. They are “phoney” - and at a gut level, we know it. 

So, if Hollywood’s time in the limelight (and the pay dirt) may be running out, where should we look for a new resurgence (dare we say, resurrection?) in the art of storytelling? 

“Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods.

It would be foolhardy to come down too hard on an answer to that question, since ultimately stories can and have come from anywhere. But if I had to lay down money on the kind of environment out of which any resurgence in the storytelling industry (whether of the moving image or the written word) will come, I would be betting on some sort of life-affirming, collaborative, creative network or community based around the foundational values of truth, goodness and beauty, and motivated by a shared desire to see the renewal and revitalisation of  Western culture everywhere.  

Such networks have been springing up with the ubiquity and rapidity of mushroom colonies all over the West, particularly in the US and across Europe. 

 Angel Studios has emerged as one of the more front-footed of these. This is a US-based media company that produces and distributes films and TV series with inspirational and faith-based themes: projects like The Chosen - the globe-conquering pay-it-forward re-telling of the Four Gospels - and Sound of Freedom, the latter grossing over $250million worldwide. (Disney take note.) 

While Angel’s content may have arisen out of niche audience demand (it was founded as a successor to the VidAngel app that sourced child- and faith-friendly content), other collaborative networks exist with a broader mission for cultural renewal. The Everything Network is one such example. A UK-based Christian network of leaders across multiple fields of society, it operates from the principle that, for centuries, society has benefitted from the way Christianity has contributed to the whole of life: from the art we create, to the laws we make, and the way we care for those in need. If God cares about everything, then the invitation persists for us to work towards the renewal of all things. 

This includes the stories we tell. Hence, under one aegis, authors, poets, or screenwriters are connected with financial backers, producers, directors, animators, marketeers and so on. Implicit within the network’s mission is a recognition that stories have the power not just to entertain, but to change the world. For good and for bad.  

Just look at the Bible. 

At a more modest level, creative networks are coming together all over the West: in churches, across the broader arts and entertainment landscape and so on, in part as support communities for people working in those industries, but also as incubators for collaborative output. Some are more ambitious than others. And many are proving the truth of the proverb: “Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods. 

So, if truth, beauty and goodness are the weapons on the battlefield of imagination, and the soul of the world is the prize, perhaps these emerging creative networks are the divisions, the battalions, the platoons deployed along the front line. Time will tell which are most effective. 

What is certain is that, long after Hollywood’s spell over us all is broken, humans are still going to want to hear good stories. Stories that tell us something meaningful and true about life as it appears before us.  

I’ll have my bucket of popcorn ready just in case.

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Review
Books
Care
Comment
Psychology
7 min read

We don’t have an over-diagnosis problem, we have a society problem

Suzanne O’Sullivan's question is timely
A visualised glass head shows a swirl of pink across the face.
Maxim Berg on Unsplash.

Rates of diagnoses for autism and ADHD are at an all-time high, whilst NHS funding remains in a perpetual state of squeeze. In this context, consultant neurologist Suzanne O’Sullivan, in her recent book The Age of Diagnosis, asks a timely question: can getting a diagnosis sometimes do more harm than good? Her concern is that many of these apparent “diagnoses” are not so much wrong as superfluous; in her view, they risk harming a person’s sense of wellbeing by encouraging self-imposed limitations or prompting them to pursue treatments that may not be justified. 

There are elements of O-Sullivan’s argument that I am not qualified to assess. For example, I cannot look at the research into preventative treatments for localised and non-metastatic cancers and tell you what proportion of those treatments is unnecessary. However, even from my lay-person’s perspective, it does seem that if the removal of a tumour brings peace of mind to a patient, however benign that tumour might be, then O’Sullivan may be oversimplifying the situation when she proposes that such surgery is an unnecessary medical intervention.  

But O’Sullivan devotes a large proportion of the book to the topics of autism and ADHD – and on this I am less of a lay person. She is one of many people who are proposing that these are being over diagnosed due to parental pressure and social contagion. Her particular concern is that a diagnosis might become a self-fulfilling prophecy, limiting one’s opportunities in life: “Some will take the diagnosis to mean that they can’t do certain things, so they won’t even try.” Notably, O’Sullivan persists with this argument even though the one autistic person whom she interviewed for the book actually told her the opposite: getting a diagnosis had helped her interviewee, Poppy, to re-frame a number of the difficulties that she was facing in life and realise they were not her fault.  

Poppy’s narrative is one with which we are very familiar at the Centre for Autism and Theology, where our team of neurodiverse researchers have conducted many, many interviews with people of all neurotypes across multiple research projects. Time and time again we hear the same thing: getting a diagnosis is what helps many neurodivergent people make sense of their lives and to ask for the help that they need. As theologian Grant Macaskill said in a recent podcast:  

“A label, potentially, is something that can help you to thrive rather than simply label the fact that you're not thriving in some way.” 

Perhaps it is helpful to remember how these diagnoses come about, because neurodivergence cannot be identified by any objective means such as by a blood test or CT scan. At present the only way to get a diagnosis is to have one’s lifestyle, behaviours and preferences analysed by clinicians during an intrusive and often patronising process of self-disclosure. 

Despite the invidious nature of this diagnostic process, more and more people are willing to subject themselves to it. Philosopher Robert Chapman looks to late-stage capitalism for the explanation. Having a diagnosis means that one can take on what is known as the “sick role” in our societal structures. When one is in the “sick role” in any kind of culture, society, or organisation, one is given social permission to take less personal responsibility for one’s own well-being. For example, if I have the flu at home, then caring family members might bring me hot drinks, chicken soup or whatever else I might need, so that I don’t have to get out of bed. This makes sense when I am sick, but if I expected my family to do things like that for me all the time, then I would be called lazy and demanding! When a person is in the “sick role” to whatever degree (it doesn’t always entail being consigned to one’s bed) then the expectations on that person change accordingly.  

Chapman points out that the dynamics of late-stage capitalism have pushed more and more people into the “sick role” because our lifestyles are bad for our health in ways that are mostly out of our own control. In his 2023 book, Empire of Normality, he observes,  

“In the scientific literature more generally, for instance, modern artificial lighting has been associated with depression and other health conditions; excessive exposure to screen time has been associated with chronic overstimulation, mental health conditions, and cognitive disablement; and noise annoyance has been associated with a twofold increase in depression and anxiety, especially relating to noise pollution from aircraft, traffic, and industrial work.” 

Most of this we cannot escape, and on top of it all we live life at a frenetic pace where workers are expected to function like machines, often subordinating the needs and demands of the body. Thus, more and more people begin to experience disablement, where they simply cannot keep working, and they start to reach for medical diagnoses to explain why they cannot keep pace in an environment that is constantly thwarting their efforts to stay fit and well. From this arises the phenomenon of “shadow diagnoses” – this is where “milder” versions of existing conditions, including autism and ADHD, start to be diagnosed more commonly, because more and more people are feeling that they are unsuited to the cognitive, sensory and emotional demands of daily working life.  

When I read in O’Sullivan’s book that a lot more people are asking for diagnoses, what I hear is that a lot more people are asking for help.

O’Sullivan rightly observes that some real problems arise from this phenomenon of “shadow diagnoses”. It does create a scenario, for example, where autistic people who experience significant disability (e.g., those who have no perception of danger and therefore require 24-hour supervision to keep them safe) are in the same “queue” for support as those from whom being autistic doesn’t preclude living independently. 

But this is not a diagnosis problem so much as a society problem – health and social care resources are never limitless, and a process of prioritisation must always take place. If I cut my hand on a piece of broken glass and need to go to A&E for stiches, I might find myself in the same “queue” as a 7-year-old child who has done exactly the same thing. Like anyone, I would expect the staff to treat the child first, knowing that the same injury is likely to be causing a younger person much more distress. Autistic individuals are just as capable of recognising that others within the autism community may have needs that should take priority over their own.   

What O’Sullivan overlooks is that there are some equally big positives to “shadow diagnoses” – especially as our society runs on such strongly capitalist lines. When a large proportion of the population starts to experience the same disablement, it becomes economically worthwhile for employers or other authorities to address the problem. To put it another way: If we get a rise in “shadow diagnoses” then we also get a rise in “shadow treatments” – accommodations made in the workplace/society that mean everybody can thrive. As Macaskill puts it:  

“Accommodations then are not about accommodating something intrinsically negative; they're about accommodating something intrinsically different so that it doesn't have to be negative.” 

This can be seen already in many primary schools: where once it was the exception (and highly stigmatised) for a child to wear noise cancelling headphones, they are now routinely made available to all students, regardless of neurotype. This means not only that stigma is reduced for the one or two students who may be highly dependent on headphones, but it also means that many more children can benefit from a break from the deleterious effects of constant noise. 

When I read in O’Sullivan’s book that a lot more people are asking for diagnoses, what I hear is that a lot more people are asking for help. I suspect the rise in people identifying as neurodivergent reflects a latent cry of “Stop the world, I want to get off!” This is not to say that those coming forward are not autistic or do not have ADHD (or other neurodivergence) but simply that if our societies were gentler and more cohesive, fewer people with these conditions would need to reach for the “sick role” in order to get by.  

Perhaps counter-intuitively, if we want the number of people asking for the “sick role” to decrease, we actually need to be diagnosing more people! In this way, we push our capitalist society towards adopting “shadow-treatments” – adopting certain accommodations in our schools and workplaces as part of the norm. When this happens, there are benefits not only for neurodivergent people, but for everybody.

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Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
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