Political Economy and Studio 60

Media supports and advertises the political economy through unique structures that are culturally effective. Much of this subversion is equated with our mental involvement in the media. This generated false consciousness is attributed to the lack of knowledge or investment in the political and economic structures that surround us. In “Studio 60”s Pilot episode, arguments arise over the quality of material verses the general approval based on audience ratings that support the company’s overall salary and business structure. Faithful audience members live in a bubble since previous sketches have enforced structures and ideas that are “funny”; funny is apparently the necessary characteristic of successful entertainment. We have then constructed our own world according to what we see. What we view is how we see our world or how we wish our world was. It’s no surprise that the show tanked after the Pilot, because the bubble was burst once that false consciousness was broken. This was achieved through an interruption during a popular live television sketch, in which the director proceeded to explain to the audience the corruption and failure of the media. The reveal was a political attack on the motives and mission at Studio 60, in an effort to educate the audience and free them from the oppressive structure.

The oppressive structure held three distinct roles: 1) maintaining decorum, 2) maintaining and increasing ratings/profit, and 3) providing programs on a basic entertainment level. Once the deed had been done, the Board of Directors met and discussed the tactics to achieve these goals. This political structure proved that if these roles are not met, the “laborer is just a cog in the machine” and is easily replaceable. The director was immediately fired. Additionally, there was some tension for others who were in fear of losing their job. The ravings of the director supported the studio’s structure by removing the link easily. Though the threat of unemployment bars economic consequences, being fired for reasons such as this will ruin careers and reputations. Yet, emancipation would clearly free us from the oppressive structure through the knowledge received. The popular culture demands laid out by Studio 60 before it went to chaos was controlled by a system to maintain its place for the masses. Though popular culture comes from the masses and is supported by the masses, the masses have been brainwashed into false consciousness that leads them to believe that pop culture is steady and never changing. Any freedoms granted are to be a critical analysis from the voice of the people. Studio 60 was revived by a critical approach from those beyond the structure as defined. Even the new President and the new writers are representing the masses with a different perspective. This cascaded to changes within the system.

The changes within the system were not revealed to be successful. In fact, there is a threat of failure that can eliminate this emancipation. Alienation occurs when capitalist structures dissolve creativity. Because creativity comes from thinking and practice, Studio 60 will pursue ideas and practices that may save the wreckage from the chaos of falling cogs in the machine. The new President may lose her job and everything may tank, yet this is a chance that ‘creativity’ will take. Before the director interrupted the show, the capitalist structure had a firm grasp on any creativity (or lack thereof) at Studio 60. Pretty much, everything’s going great so why take any chances. Most say that when economies flourish so do their arts and literature. However, media has capitalized and built on our loyalty to the arts that the flourishing doesn’t happen. Television quickly creates the demand for the same old stuff because “it’s funny” or “it’s a classic”. Therefore, we have become laborers that commodify the media. We are now part of a transaction that enlists us to participate in the media only to re-assert the structure and dominance of mass media. Much like the years during the Depression, creativity boomed because it commodified the laborers in hopes that they will create and support a new structure by thinking critically about the failures and success of the structures from before. Therefore the writers are given the responsibility to re-think part of the structure to retain and maintain the integrity of the studio.

So why did the show tank? Why did 30 Rock survive? As audience members, we are coping so that political structures will re-affirm the status quo. This opiation slows down any change possible because we neglect and choose to be ignorant in the ways that these structures work. We would rather buy into it than trying to change it, so it supports the structures motive to be “funny”. In comparing value (that is, moral value and/or meaning) between both similar television sitcoms, it’s quite noticeable that Studio 60 recognizes the needs for change, improvement, system deficiency, and hope. These values have emancipated the false consciousness set up by the system as a way to re-think and re-create the system. However, we prefer to play it simple and easy and stick to what’s entertaining. 30 Rock hardly encourages the audience to think on its own. Its characters, messages, scenes, etc. are impossible realistic structures of life and therefore have no real face value other than entertainment.

By consuming media, it maintains its power hold. We get lost in media that provides for us an escape from the structures we consider to be burdening. We prefer to get home from a hard day’s labor and do nothing but watch television. Yet, this participation is only us giving our labor freely to a system that takes advantage of that false consciousness. The attraction to television has only supported the structures outline of the status quo. This outline has targeted the audience to participate so closely in television that it has become culturally imperative. So many television series, how can you follow them all? Yet, you are not culturally educated if you don’t watch the awards shows, the latest moves, Duck Dynasty, etc.? All these fictional shows are re-enforcing the structure that builds them. So, does anyone still watch the news? We are the drones of the media enterprise; a cog in the machine so easily replaceable.