Entertainment
New Scream Movie Panned By Critics Over Politics, Breaks Franchise Box-Office Records
By Jennifer Asencio
| Published
According to film critics, Scream 7 is the death of the franchise. With an aggregate of 33% from 120 critic reviews as of this writing, it’s easy to believe they are right. There is just one problem: the movie is so popular that it’s poised to break opening-weekend franchise records.
The previous record was set by Scream VI, which opened with $44 million. The new movie is projected to approach or break $50 million, with some estimates as high as $59 million. Fans gave Scream 7 a 77% rating on Rotten Tomatoes, indicating a big gap between audiences and critics.
How Politics Influences The Reviews Of Critics
The one thing that all the bad reviews have in common is discussion of the firing of Melissa Barerra and the subsequent departure of Jenna Ortega, both of whom played characters central to the two previous installations. Barerra was fired for making inflammatory remarks about Israel’s response to the October 7, 2023, Hamas attack, sentiments which are shared by many in the entertainment industry; Ortega left in protest of Barrera’s dismissal. A lot of critics and major entertainment news venues sympathize with Barrera’s views, and some of these are gleefully reporting the Rotten Tomatoes critics’ ratings as though it means something for the movie.
Critics also infamously panned the biopic of the First Lady, Melania, with an even wider gap of 11% based on 53 reviews, while over 1000 audience reviewers average 98%. They are also offering great praise to the politically motivated series Starfleet Academy, the latest Star Trek show that hasn’t really resonated with fans, but which we keep being told is the best Star Trek yet. Meanwhile, the Daily Wire+ show The Pendragon Cycle has been ignored by mainstream critics, with no score on Rotten Tomatoes at all, not even a 0, despite an average of 85% from viewers.
What this all indicates is that industry reviewers are circling the wagons based on political divides rather than giving honest reviews. They are evaluating movies with greater consideration of whether they check certain boxes off-screen, and are boycotting or panning films that don’t neatly fit their mold. Critics are relying on their authority as insiders to dictate culture through the lens of politics rather than examining movies on their own merits and audience potential.
Professional Review Bombing
Some commenters have even accused the collective of mainstream critics of “review bombing” Scream 7. Review bombing is a phenomenon in which individuals give a movie a bad rating for some motive outside the show. Recently, a review bombing war between A Knight of the Seven Kingdoms fans and Breaking Bad fans resulted in the IMDB rating of the latter’s crowning episode, “Ozymandias,” being reduced to a 9.5 from a perfect 10. The war started because the Game of Thrones spinoff received some bad reviews from Breaking Bad fans, who may or may not have been acting in bad faith.
However, those are individuals, even if some of them coordinated via an internet campaign. They are not the professionals relied on to be unbiased and to evaluate movies and television based on the productions themselves, not on who made them or their politics. The fact that the critics don’t seem to be connected to what audiences seem to want makes it even worse, because we are all being told that liking the stuff we like makes us bigoted if they don’t like it. And they also seem to think that if they ignore it altogether, like with The Pendragon Cycle, that maybe it will slip by unnoticed.
How much of our culture is being suppressed by critics with political agendas? Scream 7 indicates that the question needs to be asked as it is such a runaway hit that the motives of mainstream reviewers may not be critique, but activism.
Entertainment
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Credit: BJ’s Wholesale Club
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Entertainment
This $43 bundle quietly upgrades your entire PC experience
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Entertainment
Star Trek’s First Broadcast Episode Was Very Carefully Chosen, Because It Was Boring
By Chris Snellgrove
| Published
These days, Star Trek is a bona fide pop culture phenomenon. But during the development of The Original Series, there was anxiety that the general public wouldn’t really understand Gene Roddenberry’s mashing up Western tropes with a sci-fi setting. Making matters worse was that the original pilot, “The Cage,” had been rejected by NBC for being too brainy. Fortunately, Roddenberry got a chance to shoot another pilot, one which impressed the network enough to order an entire season worth of episodes.
Several episodes of Star Trek: The Original Series had already been shot when the time came for this new show to make its broadcast premiere. The first episode that the general public saw was “The Man Trap,” which featured a shapeshifting monster that was revealed to be an alien salt vampire. This good-but-not-great episode was an odd choice, and it was one that the cast and crew hated. As it turns out, though, this episode was very carefully selected by executives because it served as an inoffensive, relatively straightforward encapsulation of everything Star Trek had to offer.
It’s A Trap!
Most of the information we have about why “The Man Trap” was selected as Star Trek’s first episode comes from the book Inside Star Trek: The Real Story. Within this impressive reference tome, Robert H. Justman and Herbert F. Solow revealed something surprising: NBC had several other episodes to choose from for the premiere, including “The Corbomite Maneuver,” “Charlie X,” “Mudd’s Women,” “Where No Man Has Gone Before,” and “The Naked Time.” All of them had already been shot and were mostly finished, so it was just a matter of figuring out which episode would serve as the best introduction to Star Trek, a heretofore unknown sci-fi series.
“The Man Trap” won out, mostly because the powers that be worried that other episodes would be off-putting to general audiences in some very specific ways. For example, they worried that audiences would find “Charlie X” a story that was “too gentle” because it focused on an adolescent with special powers. This was probably the right call, in retrospect: when Variety gave a negative review of “The Man Trap” (an episode chosen, in part, because of its relative maturity), they declared that Star Trek: The Original Series was “better suited to the Saturday morning kidvid bloc” (ouch!).
A Monster Hit Of An Episode
“The Corbomite Maneuver” was a great potential choice, but this episode’s impressive special effects were still in post-production, and almost all of its action took place on the ship. “Where No Man Has Gone Before” really outlined the premise of the new show, but it was deemed “expository” for general audiences expecting more action and danger. Justman thought “The Naked Time” was a killer introduction to the crew’s personalities, but the network passed, presumably because of how over-the-top (half-naked, swashbuckling Sulu? Oh, my!) that episode gets. “Mudd’s Women,” meanwhile, was deemed too offensive because the plot involved literally selling women to miners.
Through this process of elimination, executives decided that “The Man Trap” was the best intro to Star Trek. It had cool scenes on both the Enterprise and a distant outpost (a strange new world) and featured a straightforward action plot you didn’t have to be a sci-fi aficionado to understand. Finally, it was all about finding and defeating a creepy monster, which offered thrills to audiences of all ages. The network’s choice paid off, and Star Trek: The Original Series became the most popular sci-fi show in television history, even though the cast (including William Shatner and Leonard Nimoy) thought “The Man Trap” was the worst possible episode they could have chosen.
All of this is a keen reminder of how much thought and work went into putting Star Trek’s best foot forward. It might be a reminder that Paramount’s current upper leadership needs, as Starfleet Academy hit the ground running with the worst episodes of Season 1. The show got better after that, but it didn’t matter because the prospective audience had already been driven away. As it turns out, today’s execs need to learn something that the network execs of the ‘60s had learned very well: series succeed when you give the audience what they want to see and not what you want to show!
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