Parasites or pioneers?

On the "polemical excesses" of the blogosphere

The recent experiences of my colleague Mehdi Hasan rather bear out this passage from Michael Massing's very interesting piece about blogging and the future of print journalism in the latest edition of the New York Review of Books:

The polemical excesses for which the blogosphere is known remain real. In And Then There's This, an impressionistic account of the viral culture on the Internet, Bill Wasik describes how "the network of political blogs, through a feedback loop among bloggers and readers," has produced a machine that supplies the reader with "prefiltered information" supporting his or her own views. ... With so many voices clamoring for attention, moreover, a premium is put on the sexy and sensational. Headlines are exaggerated so as to secure clicks and boost traffic. ... [Consequently], the Internet remains a hothouse for rumors, distortions, and fabrications.

But before aggrieved bloggers conclude that Massing, like the rest of what the members of the "online community" call the "mainstream media", is fearful of his job, it's worth pointing out that he recognises the enormous journalistic and democratic potential of the Web:

For all these problems, the Web is currently home to all kinds of intriguing experiments. YouTube recently introduced a Reporters' Center offering tips from established reporters on how to cover international news. The Huffington Post has set up an investigative fund to support journalistic research. The Boston-based GlobalPost has arranged with dozens of independent reporters around the world to find outlets for their work. Sites like Minn Post in Minneapolis and Voice of San Diego are testing whether metro reporting can be done on the Internet. Among the more notable recent developments are the sharply edited book section at The Daily Beast; the brisk video-debate unit Bloggingheads.tv; and the conservative blogging collective NewMajority.com, set up by David Frum after he broke with National Review. Taken together, such initiatives suggest a fundamental change taking place in the world of news.

And Massing makes an extremely acute distinction between the kind of blogging, often perpetrated behind the cloak of anonymity (as was the case with Mehdi Hasan's grotesque monstering by someone calling themselves "Channel Four Insider"), that is parasitic on print journalism, and what you might call blogging by experts. He mentions Juan Cole here, who, as it happens, is currently writing a piece for the New Statesman:

The blogosphere, by contrast, has proven especially attractive to those who, despite having specialized knowledge about a subject, have little access to the nation's Op-Ed pages. The model here is Juan Cole, a Mideast scholar at the University of Michigan whose blog, Informed Comment, has over the years offered a more acute analysis of developments inside Iraq -- and now Iran -- than most of the reporters stationed in those countries. Today, one can find similar commentators on almost any subject. For a physician's personal take on America's health care problems, one can turn to KevinMD, written by Kevin Pho, a primary care doctor in Nashua, New Hampshire. For a fresh perspective on education, there's joannejacobs .com, by a former Knight-Ridder columnist; and on drug policy, there's The Reality-Based Community, by UCLA professor Mark Kleiman.

 

 

 

 

Jonathan Derbyshire is Managing Editor of Prospect. He was formerly Culture Editor of the New Statesman.

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Marvel has moved past the post-credits teaser, and it's all the better for it

Individual stories are suddenly taking precedence over franchise building.

The lasting contribution of 2008’s Iron Man to contemporary cinema comes not from the content of the film itself, but in its Avengers-teasing post-credits scene featuring an eyepatch-sporting Samuel L. Jackson. While post-credits scenes were not invented by Marvel, their widespread adoption in other blockbusters is a testament to Marvel using them to titillate and frustrate.

Fast forward nine years and Marvel’s direction has significantly altered. Having moved to a three-film-a-year structure ahead of next year’s climactic Infinity War, their two releases this summer have featured less explicit connective tissue, using post-credits scenes that are, in typical Marvel fashion, self-reflexive and fun – but this time with no teases for films to come.

Where previous Marvel Cinematic Universe (MCU) films have trailed characters donning superhero mantles, confrontations to come, or more light-hearted team ups, Guardians of the Galaxy Vol. 2 decided to lovingly poke fun at Marvel grandmaster Stan Lee, leaving him stranded on a godforsaken space rock in the outer reaches of the stars. Spider-Man: Meanwhile Homecoming targeted filmgoers who had stayed until the end in expectation of a tease, only to receive a Captain America educational video on the virtues of “patience”.

That isn’t to say that connective tissue isn’t there. Marvel seems to be pursuing world building not through post-credits stingers, but through plot and character. In the past, teasing how awful big bad Thanos is ahead of the Avengers battling him in Infinity War would have been done through a menacing post-credits scene, as in both Avengers films to date. Instead Guardians of the Galaxy Vol. 2 uses character as a tool to explore the world at large.

Nebula’s seething rage is, rather than just a weak excuse for an antagonist’s arc, actually grounded in character, explaining to Sean Gunn’s loveable space pirate Kraglin that Thanos would pit his daughters, her and Gamora, against each other, and replace a part of her body with machine each time she failed – and she failed every time. It’s effective. Thanos’ menace is developed, and you feel sympathy for Nebula, something Marvel has historically failed to do well for its antagnoists. Her parting promise – to kill her father – not only foreshadows the events of Infinity War, but also hints at the conclusion of a fully formed arc for her character.

In the high-school-set Spider-Man: Homecoming, the stakes quite rightly feel smaller. The inexperienced wall-crawler gets his chance to save the day not with the galaxy at risk, but with an equipment shipment owned by Iron Man alter-ego and billionaire inventor Tony Stark hanging in the balance. While such a clear metaphor for widespread change in the MCU might be a little on the nose, the set-up is effective at plaing the film at street level while also hinting at overall changes to the structure of the universe.

Stark gifting Peter a new (and oh so shiny) suit is a key set piece at the end of the film, whereas in 2015's Ant-Man’s Hope Pym inheriting her mother’s own miniaturising suit it is relegated to a teaser. Peter’s decision to turn it down not only completes Peter’s transition past seeking the approval of Stark’s unwitting father figure, but it also leaves the Avengers in an as-yet unknown state, still fragmented and incomplete after the events of 2016’s Civil War. To anticipate Spider-Man joining the Avengers proper is to anticipate the forming of the team as a whole – keeping our collective breath held until we stump up for tickets to Infinity War.

With this happy marriage of the macro and the micro, individual stories are suddenly taking precedence in the MCU, rather than being lost in the rush to signpost the foundations for the next instalment in the franchise. It’s a refreshingly filmic approach, and one which is long overdue. To suggest that Marvel is hesitant to overinflate Infinity War too early is supported by their refusal to share the footage of the film screened to audiences at the D23 and San Diego Comic Con events in recent weeks. Instead, the limelight is staying firmly on this November’s Thor: Ragnarok, and next February’s Black Panther.

Stan Lee, at the end of his Guardians of the Galaxy Vol. 2 post credits scene, cries, “I’ve got so many more stories to tell!”, a hopeful counterpoint to a weary Captain America asking “How many more of these are there?” at the end of Homecoming. With Disney having planned-out new MCU releases all the way into 2020, entries in the highest-grossing franchise of all time won’t slow any time soon. We can, at least, hope that they continue their recent trend of combining writerly craft with blockbuster bombast. While the resulting lack of gratuitousness in Marvel’s storytelling might frustrate in the short term, fans would do well to bear in mind Captain America’s call for patience.