At the beginning of the decade, Avatar was at the top of the box office in the UK, the US and many other territories. It looked like the shape of things to come; now it’s just the shape of things that went. Not just about Sam Worthington’s career. James Cameron’s futuristic epic has literally transformed the country into a terrific alien planet, unlike anything we have ever seen. Avatar’s 3D views were so immersive that we forgave the people of the blue cat and declared it to be the future of cinema. Suddenly, all the big films in 3D had to be justified to raise ticket prices accordingly. For some time it worked until we realized that 2D was quite absorbing and cheaper.
In other ways, however, Avatar has really set the bar for 2010. Cameron has always excelled in the application of technology to action cinema and Avatar has really shown what is possible with CG rendering, performance capture, green screen and all other tricks. This is what we expect every time. Scan a decade’s top-winning movie list and it’s all a spectacular CGI and / or action show until we reach Joker in Budget # 1. 30. Now such gambling is a routine.
Sam Worthington and Zoe Saldana in Avatar. Photo: AP
In addition, innovation, avatary fabulous mythology looks like an old school, but the story dealt with some preset themes: ecosystems threatened by uncontrollable capitalism; human identity as transferable data; dissolving the boundaries between live and virtual experiences; Western imperialism, which explores its own engagement with other cultures – albeit through a white male savior who turns out to be better at all than the natives. Indeed, for all those decades that have promoted colorful women and people, we would have seen far more heroic white men in the coming years.
Where Avatar was likely to fail, it was exploiting his spectacular success. More than any other decade, 2010 was a period of familiarity: sequels, remakes, brands. The films that really defined this decade were Marvel’s cunning Avengers cycle. On the other hand, Avatar has left a remarkably small impact on the cultural landscape. No one has named their children Neytiri or Eytukan, the memories of Jake Sully, who shout, “This is our earth!”, Remain unchanged, and while power is part of the language that remembers the name of the goddess Na’vi? “(It was Eywa – thanks to Wikipedia). If we can best say that the huge technological leaps of Avatar paved the way for more “movies in which people look like animals”, such as Cats, then it’s not inheritance.
Things could change if and when Cameron finally crumbles several of the promises he promised (Avatar 2 seems to be coming “next year” from 2011), but after ten years, Avatar feels like another planet.
The decade in music began to growl. Joe McElderry, the winner of the sixth series The X Factor, who was still at the top of the ranking, has been the victim of a Facebook campaign (remember these?) To restore authenticity at Christmas no. 1. The resulting commotion meant his cover of Miley Cyrus’s The Climb was kept off the top spot by Rage Against the Machine’s Killing in the Name. A week later, his takeover of a song originally released only nine months ago – all the prophetic lyrics about the struggle to overcome life battles uphill – got to the top of the decade. However, he felt more than a consolation prize than the start of something when McElderry finally reached Syco’s peak of 68 in 2011 after its third single.
The dampened success – the X Factor winners’ single from 2005 to 2008 each year peaked in the Christmas world – is also a reversal of the tide when X Factor dominates pop culture, increasingly bored with cynical violence – their sick sweet packaging along with their seafood dinner.
However, it could be argued that McElderry left his trademark with his lively, happy joy of being in the exaggeratedly disadvantageous subsequent X Factor winners, such as Matt Cardle, Ben Haenow and Matt Terry; a trio of different shades of beige, which in turn reflected a new pop country with the title of Ed Sheeran.
Lady Gaga. Photo: Mario Anzuoni / Reuters
That The Climb would be betrayed a week later by the ridiculous, crowded bomber of Mrs. Gaga Bad Romance – a song that had already spent a week on No. 1 at the end of 2009. 1 after the performance at X Factor, which included her dancing in a huge bath, while dressed as a bat – serves only to highlight what has changed since 2010. While pop stars such as Ava Max and rookie Alice Chater have tried to repeat the slightly nasty, kitchen outburst of Gaga’s Fame Monster. and the fantastic images associated with it say that even Gaga seems to have given up the scourge of “relatability,” sweeping through the pop that first introduced television talents and then the rise of social media.
In fact, you could argue that Gaga spent most of the second half of the decade creating her own variations of The Climb’s country-tinged, homespun authenticity through 2016 2016 Stetson-wearing Joanne and last year’s A Star Is Born, a film that basically punishes her character for doing that he’s a pop star, not an authentic guitarist. It is said that the next Gaga album will revert to the electropop with the throttle fully open. This step would be heard with a bubbling substream of boredom in the current music streaming era. New decade, old Gaga? It’s a climb.
The most watched show at the beginning of 2010 was EastEnders, which fell in the new decade with the brass trust of Albert Square Tavern. Archie Mitchell was just arrested by the death of Queen Vic, and Syed’s secret love for a Christian was to destroy his wedding day in a New Year’s episode that brought 12 million viewers. Now, EastEnders is routinely increasing to less than half of these figures, and this year has seen the lowest-watched data. It has not reached the 10 million mark since 2015 and is not the only combat soap. In 2010, Coronation Street brought nearly 15 million viewers, of which a third.
Radio dramas have created soap operas that entertained housewives when they went out for work during the day and when they moved to television they flourished. At the time of the ceremony, when there were only four channels and EastEnders was a nervous young disruptor in the soap area, 30 million people watched as Dirty Den served Angie with Christmas divorced letters. But now, when only a third of people watch live soaps and prestigious television, such as Game of Thrones, eat our downtime, viewers’ loyalty is torn.
Cillian Murphy at Peaky Blinders. Photo: Robert Viglasky / BBC Caryn Mandabach Productions / Tiger Aspect
There has been a shift in the style of harsh reality that audiences expect from television. There is still demand for “normal people” on the screen, but perhaps with a more aspiring filter. As the constructed reality grew in the middle of the decade, story lines followed melodramatic soap trophies with a sense of watching people’s everyday lives. But against all the “reality” they confess, shows like Made in Chelsea and Love Island offer escape, because shaped figures with endless amounts of fresh clothes in the box serve as an antidote to the desolation of austerity measures in Britain. far from the dramatics of kitchen sink aesthetics and the daily crushing of soaps.
Meanwhile, the nineteenth hour home drills, competing for the same terrestrial audience as soaps, are strong ranking winners, be it Killing Eve, Peaky Blinders or Line of Duty. These performances offer production values, name actors and time and space to tell their stories that soaps with their weekly runoff would never get. And high-quality television programs with a large budget are even stronger. This year, I attracted 12 million viewers with the Celebrity … lineup and Strictly continues to thrive as an event TV. Soaps desperately try to compete with television with a water cooler: take the 30th anniversary week of EastEnders or Hollyoaks exploring extreme right-wing extremism.
Nevertheless, EastEnders starts by 2020 with enough intrigue to push it towards the 35th anniversary. If people complain about it, they will miss it if it is gone. Like all soaps, it may just find its place in a changing television environment.
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