The contrast Homans makes between C11 and Big Hollywood is instructive, and tends to confirm my rather jaundiced view of the inverse relationship between success and quality. Essentially, on one site you would find intelligent cultural criticism, and on the other you would find a lot of the cultural whining that seems especially concentrated among actors who have a political grudge with the rest of their own industry. In the former, there would be smart takes on new films by Suderman, for example, and in the latter you get Dirk Benedict complaining about how feminism corrupted the new BSG or Breitbart going off on another one of his insane rants. One site was challenging, the other flatters its audience’s prejudices. Naturally, the second one survives and thrives.*
And as if on cue, National Review’s John Miller chimes in, pointing to NRO’s laughably bad lists of conservative rock songs (Blink 182’s “Stay Together for the Kids” is number 17) and conservative films (300? Really?) as examples of serious right-of-center cultural criticism.
But shoving round cinematic pegs into square conservative holes is not serious cultural engagement – it’s wishful thinking. This, of course, is precisely the approach that Culture11 sought to correct by dealing with the culture as it is, not as NRO thinks it should be.