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Take 2: International series overtake Hollywood productions with creative stories and themes

 


Say goodbye to Hollywood and welcome to a new era of cinema.

The final episodes of the Spanish TV series “Money Heist” on Friday mark the end of a Netflix show celebrated by fans and critics. As the finale draws the curtains on the saga, it also cements the series’ legacy as one of the most popular Netflix shows in the world, a feat that is particularly notable due to its status as a foreign language television series. However, “Money Heist” is certainly not the only non-English series to gain worldwide acclaim in the streaming age – and it won’t be the last.

Since their inception, Hollywood and American cinema dominated the global media. Major US film studios, such as Paramount Pictures and Twentieth Century Fox, are behind the world’s most successful and highest-grossing films, such as “Avatar” and “Titanic”. Evidence of their cultural impact manifests itself both intangibly in the fabric of the cinematic landscape and quite literally, from a Disneyland in Shanghai to a Hollywood brand knockoff in New Zealand.

With a reputation as an international powerhouse for film and television, American cinema has managed to retain the crown for several decades without serious threat. But in recent years, the American film industry has unquestionably strived to maintain its throne and keep audiences hooked. As international viewers – Americans included – gravitate outside the world that Hollywood offers, it is clear that American cinema today certainly does not deserve the pedestal it once stood on compared to new creations originating in Canada. outside the United States.

[Related: Second Take: Netflix’s ‘Sex Education’ offers what many schools fail to]

One of the most notable indicators of this monumental shift is the cult popularity of foreign language shows, such as “Money Heist”. Following a robbery by a motley team of misfits, “Money Heist” received praise for its emotional storyline, complex twists and patriotic references to Spain. Humanizing each member of the heist and elucidating their daily motivations for participating in the theft, the show’s messages from ordinary citizens resisting the oppressive powers resonated with the viewers worldwide, resulting in large murals of his figures in Germany and flags of the now iconic red jumpsuit of Salvador Dalí’s show and mask in Saudi Arabia.

Other series in foreign languages ​​such as “Squid Game” in South Korea and from France “Lupine” has also achieved similar levels of success with an international audience. The first show, which comments on the stratification of socio-economic classes, garnered the views of over 142 million households, while the story of the last series on dismantling the structures that support systemic racism has been broadcast by more of 76 million households. With an appearance by “Lupine” star Omar Sy on “Jimmy Kimmel Live!” and the “Saturday Night Live” parodies of “Squid Game”, the cultural imprint of the two shows in America is undeniable.

Aside from the rudimentary ingredients that make up good television, such as impeccable writing and engaging performances, what really sets these foreign language shows apart is the relativity of their themes, as well as the prolific way of phrasing them. such messages. Rather than openly delivering a didactic lesson, insightful critiques of class hierarchy, structural racism, and political power are delivered against the thrilling backdrop of a dystopian survival game or meticulously planned heist.

[Related: Q&A: Halle Berry discusses artistic choices, acting in directorial debut ‘Bruised’]

Compared to the drab and drab productions Hollywood has produced recently, it’s no wonder that foreigners the language series captivated a worldwide audience. The constant and simply unnecessary remakes and reshoots, coupled with desperate attempts to squeeze every drop out of tired franchises, are a clear indicator of the inability of American cinema to produce new stories in the 21st century.

In recent times, it seems like every remotely relevant character in the Marvel Cinematic Universe is getting their own spinoff show, and even teen soap operas like “Gossip Girl” can’t rest in peace. Adding a new twist to old classics isn’t enough to generate innovative storytelling that pushes the boundaries of cinema. And currently, that’s all American television is capable of, forcing it to remain perpetually trapped in a rut with the sole objective of achieving the bare minimum of profit and entertainment value.

Across borders, foreign language series such as “Money Heist”, “Squid Game” and “Lupine” are capable of satisfying more than the simple desire to escape that many seek when they consume television. The universal themes about the human experience that resonate with audiences, regardless of their demographic background, have been the catchphrase that draws viewers in, keeping them season after season.

In the modern age, Hollywood no longer occupies the top of the pyramid. As the United States increasingly relies on its international counterparts for other cultural imports, from music to cuisine, it is no surprise that foreign language television is another form of media than Americans. are eager to consume. And frankly, this change is rightly deserved, as foreign language shows like “Money Heist” are fresh, insightful, and creative TV shows that are ripe for viewing.

The cinema landscape is changing – and it’s time for Hollywood to take a step back.

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