As a media researcher, I analyze content we produce and what it means in regard to our cultural moment. Television trends in particular, show cultural patterns and reflections of popular opinion. The storytelling format acts as both social commentary and a tool for mobilizing audiences for action against the status quo. We have tons of data about who watches what, with whom, at what time, and so on. As a result, content produced for television mimics audience demand. In about late 2016-early 2017, there emerged an undeniable trend in television content: shows crafted around dystopian realities. As a result, I decided to investigate where this audience demand came from, what it was communicating about our cultural identity, and how it impacted the Christian worldview. This is a condensed version of that analysis.
Historical Framework:
The content we see on screen simultaneously cultivates our culture and is also driven by its demand. While it both shapes and is shaped by us, it also dictates how we interact with the environment we create (Jügen Habermas). The medium we choose to carry our message also influences our message (Marshall McLuhan). After a while, the things we create replace the “real” in our environments because we are better able to control them (Jean Baudrillard). This is a concept we now call Critical Theory. To me, this was a helpful tool in understanding the driving cultural forces behind the dystopian television trend.
Throughout television’s history, we can follow specific trends in content, as television takes part in social and cultural development. As culture changes, we find that certain shows rise to the top as popularity drives content consumption (advertisers have a lot to do with this). In the past, audiences viewed television content through the lens of escapist entertainment. In the fast-paced world driven by stress, the appeal to viewers was a glimpse into the life that they are not living and a distraction from their modern problems. The 2015 campaign of #oscarssowhite, however, made it apparent that we now have a new trend of viewership: representation. Audiences are no longer viewing entertainment as a way to escape reality. Instead, they see it as an extension of reality; characters similar to them, in similar situations, and with similar problems. Therefore, if we are captivated by dystopian worlds and view television through the lens of representation, then dystopian shows are popular because we believe our reality more closely resembles a dystopian existence. If we reexamine the time period for late 2016-early 2017, we find it was fraught with events that shook the core of our social structure. There was political unrest, veiled injustices, environmental worries, and a jarring incorporation of progressive technology that engulfed our way of life.
Within shows like The Handmaid’s Tale, Orphan Black, iZombie, The Man in the High Castle, The Walking Dead, The Last Man on Earth, Westworld (and so many others), there’s a pattern of protagonists who are surrounded by circumstances that are beyond their control that spiral into complete destruction. The popularity of these shows suggested that viewers looked to these characters for guidance. Afterall, when found in a reality we couldn’t control, the best thing to do would be look to someone we 1) identify with and 2) who is in a similar situation. With this link in mind, I traced the pattern of how characters in dystopian shows interacted with their environments.
Dissecting the Dystopian Television Series Motif:
From within dystopian series, we can extract similarities of scarce environments, political unrest, and abhorrent circumstances, which are all thrust upon the protagonist and that are beyond their control. This depressing state acts as a trigger for intense character development, making it a powerful storytelling tool that captivates the audience and lends space for comic relief. From analyzing some of these shows, the pattern of character engagements fit into several categories: succumbing to defeat, sacrificing all for dramatic change, or choosing to live in their new reality as if it was of their making. Some of the minor characters choose defeat and audiences quickly lose interest. Protagonists who choose to sacrifice all find that a dystopian reality is too great to change, even with supporters and optimism (this makes for some fun storytelling but is not great for connecting with audiences). Characters who choose to own their realities garners greater viewership. The appeal of this social dystopian story structure comes from seeing the way protagonists navigate unfavorable circumstances and remain resilient. Their ability to relinquish control and chose that which they did not chose creates a powerful narrative for viewers to follow. This type of story structure offers a catharsis for audiences.
What makes dystopian storytelling so effective is the clear depiction of good versus evil, though they would not be recognized as such in the real world. In fact, often the rigid system of order and control and those who maintain it are seen as the villains. It’s even more astounding that the characters fighting that order are viewed as the heroes in the plotline, whereas in real life, we refer to disturbers of order as lawbreakers or criminals. Even though dystopian themes overtly proclaim the difference between good and evil, they also suggest that villains are victims of ideas that fuel their villainy. In the end, dystopias question ideas and inspire viewers to do the same. What audiences experience is cognitive estrangement, or the ability to see things from an outsider’s perspective. The value in this concept lies in the perspective change. It’s often easier for people to objectively examine situations that they are not part of. By observing a fictitious show, it is possible for viewers to walk away with a fresh perspective of their own lives and the circumstances that surround them. After all, the goal of all art is to leave people changed in some way and television is still a form of art.
Employing the Dystopian Schema in Forward Thinking and Establishing Christian Identity
Dystopian societies often campaign divided communities because they are driven by fear. In them, it is difficult to find social balance and advocate good governance. Our ability to govern for the benefit of others has to come from an established individuality and a genuine care for others in the same circumstance. Just like a spiral into dystopia begins with unnoticeable changes, its reversion can also be initiated with incremental changes in daily activities.
For the Christian subculture, this means we change our perspective. We acknowledge that this world is broken and that we can’t fix it. What we can do is fight for justice, simplify our distractions, and most importantly, learn to choose what we did not choose. Often, it’s easy for us to display outrage at our circumstances or feel defeated when we have no control. If dystopian television teaches us anything, it’s that we don’t always control our realities, but we can control our responses. Often, that means relinquishing control and choosing to live as though we chose our unfavorable circumstances.