Film & TV Genres That We Don’t Have Right Now (But Probably Will Eventually)

SELF-INDULGENCE:
A category where the events are written based on the whims and desires of one real-life person as a central character with no specific storyline or narrowly-defined concepts.
For example: Suppose a patient diagnosed with a terminal illness approaches producers in order to realize a dream of being in a movie. The person can write the scenes in whatever manner, traditional or nonsensical. He or she can be a Roman warrior in one scene, a space explorer in the next and an Opera singer in the next. No attention needs to be paid to continuity because everything revolves around that person’s desires, fantasies and ideas. The person benefits from acting a well-crafted fantasy, as well as creating an eternal receptacle of passion, and the producers would benefit from the public attention driven towards seeing a dying person’s last wish achieved. It doesn’t have to be restricted to patients, either. Depending on resources available and willingness to fund, anybody can be the central character in such a theme.
CELEBRITY EXPLOITATION:
A category where, instead of finding an already written script as a vehicle for a celebrity, a new screenplay is written entirely in a way that is tailor-made to fit the strengths of a celebrity’s physique, acting capabilities and image while completely avoiding anything promoting their weaknesses.
For example: If someone like Lady Gaga is planning to star in a film, every minor and major detail in the screenplay will exist to accentuate her particular traits. Everything will connect together to form a stream of pro-imagery for her. Starting with the physique, she is well-known for possessing a large posterior and exhibiting uninhibited sexuality, so the outfits and camera techniques would highlight that without flatly stating it. Something along the lines of a scenario where she’s dressed in a scantily waist-height outfit (say, a stylish white robe for patients at a futuristic mental asylum.) Experiencing torture and sexual assault, she escapes from the asylum. Camera techniques would also be used to focus and heighten sexuality (abusers rip her outfit off, camera trailing her from behind as she runs through the bushes outside the asylum, her slim outfit getting torn by thorns, etc.) Words like ‘monster’ and ‘Lady’ are heavily associated with her public image, so they would be imported into the film (a message reaches her in the asylum that she must escape and meet a stranger somewhere, the stranger tells her she is the only remaining lineage of a prestigious royal family, hence ‘Lady’, and that her memory was erased and her identity altered, hence ‘Monster’, and that she was admitted into the asylum as part of a conspiracy against her family.) The entire scenes and dialogues would be limited to Lady Gaga’s own acting range. Meaning that if Lady Gaga is not very skilled at, say, delivering funny lines, the entire film would be sans comedy. And if she is skilled at delivering dramatic lines, the film would be rife with dramatic exchanges (finding out and confronting one more person from her lineage for refusing to go public, finally meeting the person behind what happened to her, delivering a speech etc.) Using methods like these, all the imagery flows in one seemingly natural stream of a plot where Lady Gaga plays an escapee from a futuristic mental asylum, who sets out to uncover a conspiracy against her family and reveal the truth behind her real identity. That would be a storyline where everything mirrors the physique, skills and celebrity status of the celebrity.
SOCIAL MEDIA WAVE:
A category where the events in a TV series unfold on scheduled TV timeslots as well as real-time on social media.
For example: Irwin Allen’s 1960’s Sci-Fi series The Time Tunnel was about two scientists, working on a government experiment determining the feasibility of time travel, who go inside the tunnel and find themselves stuck in different points of time in history as they try to find their way back. A modern remake of such a show, because of its close relationship with time, would include social media outlets like Twitter, YouTube and Instagram as part of its storyline. The actors would still be in character as they share updates of their characters’ journeys and communicate with each other online (videos and images where the scientists show their new locations to determine what era it is, tweets and messages when video communication is not available, etc.) Extremely dedicated viewers will be part of the phenomenon as they passionately follow everything that happens online and on TV 24/7, exchanging updates with each other and trying to solve the scientists’ dilemmas before the next TV episode starts.
REIMAGINED FANTASY OR DEEP REALITY:
A category where what we are used to seeing in a film is completely inverted or abandoned.
For example: In today’s action films, the male lead is typically a white man with a muscular physique and extensive fighting skills, the female love interest is typically thin and curvy with supermodel looks, the villain is void of any redeeming value and an equal enemy to the male lead, and the events are fast-paced and engaging. In deep reality action films, the male lead can be four foot five or a lanky seven feet tall, the female love interest can be an overweight black woman with average looks, the villain can be a wheelchair bound old man who understands the meaning of sacrifice and weak compared to the male lead, and the events would still be fast-paced and engaging because that’s the only substance needed in an action film. The stereotypes and connotations perpetuated today would never exist in deep reality genre because it would be built on breaking the mold. It will attempt to redefine everything, from characters to background settings to realistic portrayals.
SCIENTIFIC HEROISM:
A category where the writers themselves attempt to both genuinely and superficially solve complex scientific and medical issues of their time through their writing.
For example: Imagine a film about an annual gathering of bright minds from all over the world. They congregate every year at a particular place, say, a large public park or square, and engage in a contest as teams where the winners are the ones who solve a particular problem facing the world today. They remain in that place for a determined period of time, maybe days, maybe weeks, working together and presenting their findings in public. The winners chosen at the end will be the ones who, if not have reached the answer, have at least offered the most significant contribution towards finding the answer. Such a script and particularly such an ending would require legitimate attempts by the writers themselves to find scientific solutions or at least what would seem feasible as scientific solutions. Meaning, the science presented in the film would either be superficial science fiction or a genuine scientific discovery.
ADVERTISING-BACKED CRAP WITH SCENE-SELECTION COMPATIBILITY:
A category that’s just as vapid as it sounds. It will be used as market research by companies to gauge consumer preferences of their annoying products.
For example: As the advertising and marketing world always does, they will neglect to understand where the true substance of a film lies, and will offer their consumers a sorry excuse of a film with built-in scenes and let them decide which scene they would like to see next. The only catch would be that each scene would contain one of their products or services. So if the current scene is about the character being thirsty for some reason, the next scene would be a choice of drinking Coca-Cola, drinking another product of Coca-Cola, or drinking something else. They will use this useless data and compile it into something erroneously labeled ‘market research’, proving once again that they will never understand how measurements of current preferences aren’t necessarily more lucrative than initiation of new preferences.
P.S.: Apart from the last one, I’m writing all of these.

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