Self-fulfilling prophecies

At first blush, the show biz scene looks expectedly competitive, but the competition feels more “leashed” than all-out vicious. Sometimes, however, some raw and raging issues inadvertently emerge, and we are shocked to realize how deeply some conflicts are rooted.

At a recent film industry function, for instance, both mainstream and indie practitioners were blithely socializing and interacting, but the discussion took on a more argumentative and confrontational coloration when the talk focused on the factors that made a TV or film production a hit.

Factors like giving viewers what they want (but in a fresh and unconventional way) were ticked off, but the indie people looked unconvinced—and even resentful.

Questions

Goaded by follow-up questions, they finally expressed the cause of their resentment and disaffection: In their view, the mainstream guys had loaded the show biz die most unfairly to their advantage, due to their strong links to media outlets which they used to promote their productions—while most of the indie people were left out in the cold.

The charge was even made that, due to this key promotional advantage, mainstream producers could make even tacky and predictable shows a hit, by psychologically co-opting the minds and taste of viewers through a series of “self-fulfilling prophecies!”

By this, they meant that, when a new show was “plugged to death” on a popular network, it created a blanket or “saturation bombing” impression that made viewers want to see the show the very day it opened!

In addition, the disaffected complainers griped, the networks are now coming up with “all-star” teleseryes that demolish the competition with their combination of popular young leads and experienced veterans.

Another self-fulfilling prophecy that helps make a show a hit even if it’s actually a tacky, predictable series is the glittering “big-production values” look that is made possible by the huge amount of money that’s invested in a major TV or film project.

It’s really “no contest” when so much money is “talking,” and the indies are effectively shunted off to the side to eat the dust and cry, “Uncle!”

Unfair advantage

What is the mainstream guys’ retort to these squeals about injustice, unfair advantage and self-fulfilling prophecies—aside from “Eat your heart out” and “Don’t mess with the big guys”?

They “advise” indie people to go for “niche” programming and audiences, where there’s money to be made if producers stress their projects’ freshness, vitality and bracing dynamism.

In addition, indie film producers should firm up an alternative, school-based circuit for their movies. Of course, this is easier said than done, but the support of students and teachers is deemed key to the continuing development of the promising alternative film movement.

Another option: Some indie people have been tapped by the majors to work for them. Trouble is, many of the “graduates” have had to toe the line in terms of the “commercial accessibility” of their products—which is “code” for compromise!