But there’s more to the changing tide of Entourage’s cultural reception than that. It’s not just that Entourage didn’t evolve—it’s that the whole conversation around TV did. Needless to say, pop-culture criticism as a whole now pays far more aggressive, fine-grained attention to the political implications of art within the context of criticism. We increasingly consider aesthetic judgments to at least overlap with ethical ones, in part if not entirely. This change has allowed for some of the best TV criticism of the past few years, coming from some of the best critics. It’s led one of the most popular shows on the air to be flayed to the bone every time it airs a rape scene. It’s spearheaded the critical reevaluation of Friends. (OK, Chandler is the worst.) Yes, it has also produced plenty of ham-fisted and wrongheaded analysis—but, no matter your opinion on it, this analytical mode is now built into the way we talk about culture.A couple things:
A) My opinion on it is that it's shit.
B) I hope it's more of a phase than "this analytical mode is now built into the way we talk about culture." Because...
C) It's not that this analytical mode has "also produced plenty of ham-fisted and wrongheaded analysis," it's that it's likely to.
That's why Ronda Roussey is in the movie. You can't make a movie about four white dudes in this day and age without addressing "the political implications" in some way. Throw in a cage-fighting girl, a boneable one of course, and it's a sop to all the wet blankets who would decry the testosterone overload.