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I don't think that will be about capturing the zeitgeist in major productions, so much as out of economic reality. The box office was already in decline and this is more likely than not to be its death knell; the movies that were in production or were able to complete principal shooting are going to be timed releases for next year's summer box office, and that'll probably be it assuming there is a summer blockbuster season next year and major studios don't just release the major productions early out of necessity. The writing has been on the wall streaming and digital download are the future for a while, with the only real holdouts being blockbusters and award bait; without those, Hollywood is overdue economic shock that will impact filmmaking technique and script choice.

The bottom line is, the genres and styles you cite are cheaper to produce, as they require fewer sets, tighter shooting requirements, less effects work, and smaller casts and crew. The economic, social, and political fallout from the pandemic is going to be far greater and longer-reaching than the outbreak itself, and it's not going to prove an unfair comparison to the Great Depression in the long term. So, how did the Depression affect Hollywood trends?

Escapism was the word of the decade. Historical films, musicals, animated features, and screwball comedies dominated the box office. Gangster and crime films were a vestige of Prohibition, and the Hays code took its toll on both leading to the growth of noir. Ealy talkies gave way to stereo by the end of the decade, but in contrast coloration in film all but stopped for a decade. Hollywood epics died out, to be revived at the end of the decade with Wizard of Oz and Gone with the Wind.

The through-line not being common themes, so much as low production cost.

Musicals weren't low-budget stuff, for one, but in the Depression, you got more for your money, even counting inflation. You went to the movies and you could be there all day - there were cartoons, newsreels, comedy shorts and serials in addition to the feature, all for fifteen cents. You don't get that at movie theaters today, though I wouldn't mind if those somehow came back after the pandemic.
 
Musicals weren't low-budget stuff, for one, but in the Depression, you got more for your money, even counting inflation. You went to the movies and you could be there all day - there were cartoons, newsreels, comedy shorts and serials in addition to the feature, all for fifteen cents. You don't get that at movie theaters today, though I wouldn't mind if those somehow came back after the pandemic.
There is one thing that i'm reasonably certain has happened.The post-9/11 era of moviemaking is over in the US.For 19 years movies in the US were under the shadow of 9/11.Sometimes it was so overt it was actually grating like in Man of steel othertimes it was more in the background but still there.Now with this pandemic which comes right when a new post-9/11 generation is reaching adulthood the post-9/11 movie is no longer 'relevant'.When you have NYC EMS who were at the Twin Towers say 'the pandemic was far worse than 9/11' then you know that 9/11 has been finally sent into the history books and its no longer something that is hanging over society.And culture will have to respond to that.Its almost fitting that Avengers Endgame came out in 2019 because in hindsight you can almost say it capped off the 9/11 era.
 
There is one thing that i'm reasonably certain has happened.The post-9/11 era of moviemaking is over in the US.For 19 years movies in the US were under the shadow of 9/11.Sometimes it was so overt it was actually grating like in Man of steel othertimes it was more in the background but still there.Now with this pandemic which comes right when a new post-9/11 generation is reaching adulthood the post-9/11 movie is no longer 'relevant'.When you have NYC EMS who were at the Twin Towers say 'the pandemic was far worse than 9/11' then you know that 9/11 has been finally sent into the history books and its no longer something that is hanging over society.And culture will have to respond to that.Its almost fitting that Avengers Endgame came out in 2019 because in hindsight you can almost say it capped off the 9/11 era.
Intresting.

Its interesting we've enter a new period of trauma. 9/11 era has finally ended.
 
Musicals weren't low-budget stuff, for one...
You have to be careful there, there's a certain amount of truth to that but not necessarily in the big picture. They were comparable to other major productions at first, but their biggest line item was set design -- production crews were just building whole-ass Broadway sets in sound stages. I want to say something like half of Top Hat's budget went into building that ridiculous set. As producers figured out they didn't have to go to such extravagances, musicals' budgets inflated slower than comparable films. We could argue all day whether something like The Little Princess was a toned-down musical or a drama with song and dance numbers, but at the end of the day it still had a lower budget than Mr. Smith Goes to Washington -- and that was taking into account Temple's ridiculous salaries and the post-production shoots.

The elephant in the room is Wizard of Oz, but that came down to MGM going batshit with Technicolor and Hollywood epic production values, not of any trait inherent to its musical contemporaries. The Carmen Miranda movies followed the trend, but as a whole musical budgets didn't start exploding again until the end of the studio era, fucking around with CinemaScope, elaborate dance numbers with extensive casts, huge and elaborate sets (again), location shooting, and A-list actor budgets.

You went to the movies and you could be there all day - there were cartoons, newsreels, comedy shorts and serials in addition to the feature, all for fifteen cents. You don't get that at movie theaters today, though I wouldn't mind if those somehow came back after the pandemic.
Also, air conditioning and central heating. That said, it was also the heyday of movie palaces' growth in major cities, and a transitional period wavering between arcades in smaller cities and dedicated theaters that had to lean heavily on value addition to attract crowds. I don't see any of that making a long-term resurgence though.

Its almost fitting that Avengers Endgame came out in 2019 because in hindsight you can almost say it capped off the 9/11 era.
I'll merrily shit on the MCU all day as popcorn-muncher capeshit, but I have to give it credit for capturing the post-9/11 zeitgeist in a way no other series of films have. It covers all the bases from Captain Marvel's naked militaristic jingoism to the complete opposite in Winter Soldier, and from Iron Man's blatant critique of the military-industrial complex to Black Panther's critique of American imperialism and intelligence culture that was so "subtle" and "subtextual" hardly anyone seemed to notice.
 
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The bottom line is, the genres and styles you cite are cheaper to produce, as they require fewer sets, tighter shooting requirements, less effects work, and smaller casts and crew. The economic, social, and political fallout from the pandemic is going to be far greater and longer-reaching than the outbreak itself, and it's not going to prove an unfair comparison to the Great Depression in the long term. So, how did the Depression affect Hollywood trends?
So how are people on TV Tropes going to react to this possible shift in movie and media production where cheaper budgets and more psychological dramas take center stage? Tropers love childish easy to digest media like the MCU where flashy special effects and simple stories reign supreme. Are they going to ignore these new movies?, flood the YMMV pages with them complaining how the movie made them think about uncomfortable things?, or are they such consoomers of media they will write autistic analysis's on these new movies and twist them to their world view?
 
So how are people on TV Tropes going to react to this possible shift in movie and media production where cheaper budgets and more psychological dramas take center stage? Tropers love childish easy to digest media like the MCU where flashy special effects and simple stories reign supreme. Are they going to ignore these new movies?, flood the YMMV pages with them complaining how the movie made them think about uncomfortable things?, or are they such consoomers of media they will write autistic analysis's on these new movies and twist them to their world view?
Well I mean there are trope pages for Mulholland Drive and Eyes Wide Shut, which are as close to pure REEEE-bait as you'll find in that crowd outside anything made by Leni Riefenstahl, so best guess is they'll try to mind-fart their way through it with as close to analysis as their spud-brains can muster, whilst screeching about how problematically problematic the movies are in the forums and some sped talks about how one of the characters is secretly The Doctor on the WMG page.
 
Screenshot_20200714_094155.jpg
Uhhh... What?
 
Wouldn't a better name be "Genderless Society" or "Gender-fluid Society" because gender is a non-issue in these fictional countries instead of Non-Heteronormative which no one will understand outside of Tumblr and Academia and ignores that in some of the examples men and women can still hook up just as easily as two men or two whatever? If gender isn't an issue why does the society have to be judged based on other societies values?
 
A weird thing they added.Don't add any covid-19 stuff because examples can only be added after the event has ended(whatever that means).Weird considering how tropers are so attached to giving as many 9/11 examples as possible.

In their defense, at least 9/11 specifically was a one-and-done event that lasted no longer than a single morning and likely happened in the midst of a lot of tropers' childhoods.

The aftermath of those attacks was when the real damage began, but if you're just referring to the attacks specifically being "harsher in hindsight" for certain media works (like the George Carlin bit from the 90's about airport security) then I can understand including it.

Specifically barring COVID-19 examples is pretty obviously being done out of sociopolitical bias though, since there's a fair bit of media that this pandemic could qualify for the "Harsher in Hindsight" trope like The Stand.

The last major pandemic before COVID-19 was the H1N1 swine flu which was mainly a problem in how quickly it spread and was mostly a big deal in the Third World and among the usual flu risk groups like the elderly and small children.


COVID-19 is a lot more serious than H1N1, or at the very least it was when the pandemic started in the late winter and spring.

H1N1 was more or less a pandemic based on the infection numbers alone, it wasn't anywhere near as devastating to human health and human society as COVID-19 is.

The last pandemic before H1N1 that I can think of was HIV/AIDS back in the 80's which spread in a very different manner than the majority of plagues and pandemics and was mainly so widespread because it took so long for the virus to incubate that a lot of people were infected for months or even years and didn't even know it, so by the time the virus was discovered in 1981, the disease had already spread to pandemic levels.

There's a reason why deadly pandemics were often seen as the realm of science fiction and horror for so long, because they're so goddamn rare.
 
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I do expect a lot more movies after 2022(when we finally start to see movies produced and shot in a post-pandemic period) to feature a lot more themes of loneliness isolation and paranoia.Also a far grimmer and darker media landscape.Not all but a lot more The Mist and a lot less The Avengers.'War on terror' movies are likely to seem dated and no longer that interesting.Also movies about loss.There were only a couple of movies made about losing someone on 9/11 but this time with far more dead such a theme is likely to be present.

Oddly I'd actually say the opposite in that now would be the time to make powerful films about the middle eastern adventures of the 2000s-2010s. The best films about Vietnam were made a few years after the withdrawal (starting with The Deer Hunter in 1978 and continuing through to Born on the Fourth of July at the end of the 1980s), and now those conflicts are in hindsight making the equivalent will be more viable. The only "war on terror" series I really recall liking was Generation Kill; the others were all far too stylised and didn't properly represent the vaguely comical mess that a guerrilla war really is for the ordinary grunt. Waltz with Bashir was also excellent from the same era, but was set decades earlier in the 1980s, benefiting from the same hindsight I'm describing.

It's also worth noting that Islamic terrorism hasn't gone away at all either. US strategic priorities have changed with growing use of shale gas meaning reduced dependence on middle eastern oil, but the simmering conflict between Saudi Arabia and Iran may flare up even more over the next few years.
 
And that was a game literally about false flag terror attacks to justify a US perpetual war footing, mass censorship, and social engineering in the age of mass communication.

The Lone Gunmen, an X-Files spinoff, had an episode about a plot by the government to remotely hijack planes and crash them into the Twin Towers, also as a false flag to start a profitable war by blaming it on foreign terrorists. This aired in March 2001, six months before 9/11.
 
The Lone Gunmen, an X-Files spinoff, had an episode about a plot by the government to remotely hijack planes and crash them into the Twin Towers, also as a false flag to start a profitable war by blaming it on foreign terrorists. This aired in March 2001, six months before 9/11.

Of course, they made the mistake of thinking that the US government was competent enough to exercise an elaborate plot like that.

In reality, their grand plan to re-arrange the middle east came to a halt when they disbanded the Iraqi army after the invasion, leaving hundreds of thousands of angry, unemployed men whose career was war. Strangely that didn't work out very well and it all came to grief.

I'd like to see more Generation Kill type media about the wars and the awful administrative decisions that bungled them, but people here may be right that the world has just moved on. Something should be said about the fact that the NATO strategy for Libya basically involved bombing Gadaffi, letting the rebels overthrow him, and then leaving the country in complete chaos with literal slave drivers...and worsening the immigration crisis in Europe to the point where nationalism became popular again.
 
Oddly I'd actually say the opposite in that now would be the time to make powerful films about the middle eastern adventures of the 2000s-2010s. The best films about Vietnam were made a few years after the withdrawal (starting with The Deer Hunter in 1978 and continuing through to Born on the Fourth of July at the end of the 1980s), and now those conflicts are in hindsight making the equivalent will be more viable. The only "war on terror" series I really recall liking was Generation Kill; the others were all far too stylised and didn't properly represent the vaguely comical mess that a guerrilla war really is for the ordinary grunt. Waltz with Bashir was also excellent from the same era, but was set decades earlier in the 1980s, benefiting from the same hindsight I'm describing.

It's also worth noting that Islamic terrorism hasn't gone away at all either. US strategic priorities have changed with growing use of shale gas meaning reduced dependence on middle eastern oil, but the simmering conflict between Saudi Arabia and Iran may flare up even more over the next few years.
The great Vietnam war movies came in a very specific context.The 80's when you had the Reagan military build-up and the US was again trying to prepare for a possible war with the soviets.So the generation that lived through the war now middle aged started making movies about the experience.Importantly Vietnam war movies went out of style after 1989 because the Cold War ended and the Gulf War happened.You still have some but their heyday was actually short about a decade.And while Islamic terrorism hasn't gone away there's a growing realisation that overreacting to it is actually worse than managing it.9/11 was a once and done all attacks since then haven't even come close.In fact as awkward as it may seem the pandemic in a way helps.Pre-pandemic in the US the benchmark for 'this is bad' was 9/11 an event with about 3000 fatalities.Now the benchmark for it has been raised quite a bit not just in terms of fatalities but direct societal impact(closing down everything,curfews etc).For the post-9/11 generation a new attack with 3000 dead would almost seem 'small' compared to the widespread disruption brought about by Covid.It may sound awkward but yes 3000 dead is peanuts these days.Basically islamists if they really want to be in the spotlight again they're gonna need something that goes way above Covid in body counts.And realistically that's not as easy as it may seem.In the movies terrorists are always hypercompetent regardless of how absurd their plan is.In real life most plots fail because they leave too much to chance.
 
In reality, their grand plan to re-arrange the middle east came to a halt when they disbanded the Iraqi army after the invasion, leaving hundreds of thousands of angry, unemployed men whose career was war. Strangely that didn't work out very well and it all came to grief.

I'd like to see more Generation Kill type media about the wars and the awful administrative decisions that bungled them, but people here may be right that the world has just moved on. Something should be said about the fact that the NATO strategy for Libya basically involved bombing Gadaffi, letting the rebels overthrow him, and then leaving the country in complete chaos with literal slave drivers...and worsening the immigration crisis in Europe to the point where nationalism became popular again.
Destabilization was the point. The Clean Break Memo outlines the plan to annihilate any functional opposition to Israel in the ME by making their strongest governments into toothless cartels or manic terror states. The flood of immigrants into white countries was just a bonus.
 
Destabilization was the point. The Clean Break Memo outlines the plan to annihilate any functional opposition to Israel in the ME by making their strongest governments into toothless cartels or manic terror states. The flood of immigrants into white countries was just a bonus.

They didn't even succeed at that though. The primary threat to Israel was and is Iran which is still there, and Iran now more or less controls Iraq and Syria too. The Iraq invasion actually made the "axis of evil" real by allowing Iran to move into the resulting Iraqi power vacuum.

Of course neoconservatives were pushing to attack Iran for years but after the politically unpopular debacle in Iraq that was off the table, aside from the odd strike like killing Soleimani, who was operating in Iraq at the time.
 
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