Is Wokeness Killing Modern Stories?

Introduction

Alright, let’s talk about the elephant in the TV room: why so many shows these days just aren’t hitting the mark. We all know that feeling—you’re pumped for a new season, maybe a fresh take on a classic fantasy world or an original sci-fi thriller. You hit play, ready to be transported, only to find… cringy dialogue, flat characters, and scenes so preachy you half-expect a PSA to pop up mid-episode. And who is to blame? Oh, you’ve heard it. “Wokeness is killing storytelling!”

But is it, though?

I don’t think so, and in this essay, I’ll try to explain why I believe that to be the case. But if you expect me to brush off any criticism of objectively bad writing, as racism, misogyny, or any other bigoted behavior, this essay is probably not going to be for you. On the other hand, if you’re here expecting me to cry about pronouns and diversity, you probably shouldn’t waste your time with this essay either because I’m not going to bash the idea of social progress or inclusivity. In fact, wokeness—that trendy buzzword—is just about recognizing diversity, fairness, and a more nuanced perspective on who gets to be in our stories. These things aren’t just good; they’re great… when done right.

Take Arcane and Rings of Power, for example. Both of these shows could be called woke—they feature a diverse cast of characters, address complex social dynamics, and clearly want to make statements. But while Arcane keeps us on the edge of our seats with its complex characters and fascinating world, Rings of Power often leaves viewers scratching their heads, feeling like something is missing. So, what’s really going on here? Well, that’s what this essay is about.

So, without further ado, this is how the wokeness debate is affecting modern storytelling.

Defining Wokeness in Storytelling

Let’s kick things off by tackling the big word itself: wokeness. You’ve probably heard it tossed around by everyone from YouTubers to your crazy uncle’s Facebook friends, sometimes in a tone so dramatic you’d think it’s a new pandemic. But what does it actually mean in the world of storytelling? In the simplest terms, historically speaking, wokeness originally is about being socially aware by noticing and addressing inequalities related to race, gender, class, sexuality, and more. When it comes to stories, this means seeing more diverse characters and inclusive narratives that break away from stereotypes.

Wokeness in storytelling isn’t a new concept, either. From the earliest days, art has been a mirror of society’s values, struggles, and triumphs. I mean, Star Trek was pushing boundaries in the ’60s with an interracial kiss. The scandal, I know!

At its core, wokeness often has the right intentions. After all, don’t we want stories to reflect the world as it is (and sometimes, as it should be)? Think about it—wouldn’t fantasy worlds be a bit stale if they all looked like medieval Europe with the same old tropes? A little variety in characters, viewpoints, and experiences can make a world feel as diverse and messy as real life, and that helps us connect with it.

Take Arcane, for example. It’s a show that touches on themes of class disparity, discrimination, and political corruption without feeling like it’s hammering a social studies lecture into every scene despite it 100% doing just that. The message is a feature not a bug because it’s woven seamlessly into the world of Piltover and Zaun in a way that makes you care about these characters, not just because of what they represent but because of who they are.

So is Arcane woke? Yes, and that’s a good thing. But there’s a fine line between a story that’s woke in the sense of trying to encourage us to open our eyes to the injustices in the world and a story that’s only about the message. Here’s where things get messy. When writers prioritize the message to the point where it gets so loud it drowns out the actual plot and character development, that’s when the mass audience disconnects from the story even when its messages are completely legitimate. Characters stop being people and start becoming cardboard cutouts of “this is the moral you should learn today.” It’s similar to watching a Saturday morning cartoon where Captain America pauses to say, “Don’t do drugs, kids!” It’s not that what Cap is saying is wrong—and anyone telling you otherwise is an idiot, by the way—it’s just that I want to know what’s going to happen in the story, even if I do agree with Cap’s message.

It’s the checklist approach to storytelling that often drags some stories down. Imagine a group of writers brainstorming with a whiteboard filled with bullet points like “female lead,” “LGBTQIA+ character,” and “address inequality.” Sounds good, right? It does. But when that checklist becomes the primary focus, it starts to feel like ordering a salad with every topping possible, thinking you’re going to have the best salad ever, only to realize that it’s all conflicting flavors with no actual substance.

For example, let’s look at the character sheets of both Galadriel from Rings of Power and Vi from Arcane. Galadriel is a strong female lead, a powerful worrier who is respected in her community. She is always serious, and her main goal is to avenge the death of her brother.

On the other hand, Vi is also a strong female lead, and a capable fighter who is respected in her community. She is gay and serious most of the time. Her main goal is to rescue her younger sister.

So both are quite similar, right? No. Because Vi’s character doesn’t end here. She is hot-headed, impulsive, and carries around the guilt of abandoning her sister when she needed her the most. She has a very clear depression and drinking problem. She is caught in the middle between the world she left her sister in and her new world where her love interest lives.

So, is wokeness the problem? Not really. Vi is objectively more woke than Galadriel but she also has weaknesses and vulnerabilities. She is powerful and we know it but we also see her get her ass kicked which leads us to cheer her up as she gets back on her feet. Vi is a living breathing human being with all the messy contradictions that come with that while Galadriel is nothing more than a character sheet.

Why Blaming Wokeness is a Lazy Critique

Blaming wokeness for the decline in the quality of modern stories has become a popular argument in certain circles of online discourse. Critics point to the inclusion of diverse characters, themes of social justice, and progressive representation as reasons why television shows and films have lost their appeal. But this argument is both reductive and intellectually lazy. It fails to engage with the deeper complexities of storytelling and overlooks the real issues that often plague poorly received media: weak character development, inconsistent pacing, and shallow world-building.

The anti-woke movement gained traction as a cultural backlash against what some perceive to be an overemphasis on diversity and social issues in media. Critics argue that the entertainment industry has prioritized political correctness over good storytelling, resulting in shows that feel forced, inauthentic, or preachy. This sentiment is often voiced in reaction to media that includes themes of gender equality, racial diversity, LGBTQIA+ representation, and other forms of inclusion.

The rhetoric of anti-wokeness can be found across social media platforms, YouTube channels, and even certain news outlets, where reviewers and commentators criticize shows and films for being too focused on progressive messages. Shows like The Rings of Power and The Wheel of Time have been targeted by this critique, with detractors claiming that these series failed because they prioritized diversity over narrative quality.

But this argument overlooks the broader context of storytelling and misattributes the reasons for a show’s failure. As we’ve seen with Arcane, well-written shows that embrace diversity and progressive themes can thrive when executed with care and nuance. The problem isn’t the themes themselves but how these themes are integrated into the story.

Blaming wokeness for the failure of a show or film is an easy, surface-level reactionary critique that avoids engaging with the actual craft of storytelling. It allows critics to dismiss a piece of media without delving into its narrative, character development, or thematic depth. This approach oversimplifies the complexities of storytelling and ignores the nuanced reasons why a show may succeed or fail.

Good storytelling is multilayered and involves the careful construction of characters, plots, themes, and worlds. Blaming a story's failure on its engagement with social justice or diversity ignores the broader elements of narrative that contribute to a show's success. While certain shows might include progressive themes, that doesn’t mean these themes are the sole focus or reason for the show's existence. Often, the real reasons for a show's failure are far more complex. For example, The Rings of Power and The Wheel of Time struggled with inconsistent writing, pacing issues, and underdeveloped characters. But critics who label these shows as woke failures overlook these core problems due to dishonesty or lack of the ability to critically engage with a story. This approach allows for lazy criticism, where the real narrative issues are ignored in favor of a catch-all explanation of wokeness.

Dismissing a show as too woke allows critics to sidestep meaningful engagement with its actual content. Rather than analyzing the quality of the writing, the depth of the characters, or the structure of the plot, critics simply focus on the presence of diversity or progressive themes as evidence of poor quality. This is a disservice not only to the creators of the show but also to audiences who deserve more thoughtful analysis. When critics reduce a show to its woke elements, they fail to consider whether these themes were executed in a way that services the plot and the characters.

One of the most glaring flaws in the wokeness critique is that it ignores examples of shows and films that have succeeded specifically because they embraced diversity and social justice in a meaningful way. Arcane and Blue Eye Samurai are perfect examples of stories that engage with themes of inequality, identity, and power dynamics, but they have been universally praised for their strong writing, complex characters, and emotional depth. If wokeness were inherently detrimental to storytelling, these shows would not have achieved the success they did. This shows that the real issue is not with the progressive themes themselves but with how they are executed. When diversity and social justice are handled with nuance and integrated into the narrative organically, they can enhance the story rather than detract from it.

And beyond being intellectually lazy, the anti-woke movement encourages a cycle of bad discourse, where the quality of a show isn’t judged by its narrative merits but by whether it aligns with or challenges certain political or cultural viewpoints. This lowers the bar for critical discussion and fosters an environment where complex storytelling is devalued in favor of easy critiques that appeal to divisive ideologies.

Conclusion

At its core, the debate over wokeness in media reflects broader societal tensions around representation, identity, and progress that, to be honest, is a bit too American for my taste. But, when it comes to storytelling, the true measure of a show’s success is not whether it includes diverse characters or social justice themes but how well it executes those elements within a cohesive, compelling narrative. Good stories transcend ideological labels. They resonate with audiences because they are well-written, emotionally engaging, and narratively rich, regardless of the themes they explore.

So, in my opinion, no, wokeness is not killing modern stories. Rather, it’s bad writing, poor execution, and shallow character development found in some shows created by greedy studios that lead to the failure of shows that happen to include progressive themes.

So, that‘s it. Let me know what you think In the comments down below. Don‘t forget to like and subscribe to help the channel grow. Until next time. Salam!

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