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I don't think the cliche Hollywood ending that presents the feel good about yourself, happy resolution, complete with positive family messages at the end of absolutely sodding everything is anything to do with good story telling. It's just the very tired Hollywood cliche that's proven time and again can draw an American family audience.

It's not an either/or. Books are often much, much darker than Hollywood adaptations.

Why is a US programme such as Breaking Bad considered ground breaking and hugely refreshing? For the first time in decades the USA has produced something where the hero is also the bad guy. You end up with some sympathy, and conflicted, for a complex main character, with many shades of grey and black. None of the usual black/white, so obvious it's painful.

Something like Stross's Merchant Princes can finish with a horrible ending and still be a fabulous series and story telling without many reasons to feel good to be found. Then derail after those 6 brilliant books with a clumsy reboot/relaunch.



> It's just the very tired Hollywood cliche that's proven time and again can draw an American family audience.

Global family audience. They're doing something right.

As big as China is getting and will get in the future, I wonder if their movie industry will ever become a global draw. They seem to be awfully local right now. Same goes for Japan or even India.


Indeed, the GP ignores the whole Cyberpunk scifi movement and the effect it has had on almost all scifi writing since Gibson et al.




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