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The most important shift in the last five years is that the entertainment documentary has stopped blaming the individual and started blaming the system. The verification of the content item E245, dated
This Is Pop (2021) and The Movies That Made Us (2019-2021) are fun, but the deeper cuts are films like Cusp (not strictly entertainment, but adjacent) or The Stroll. When we look at documentaries about the music industry specifically, like Nothing Compares (2022) about Sinéad O’Connor, the villain is not a specific producer or label head. The villain is the "machine." This means that the details provided about the
Nothing Compares argues that the industry didn't just fail Sinéad O'Connor; it was structurally incapable of containing her. The documentary uses the infamous SNL photo-tearing incident not as a fall from grace, but as a moment of moral clarity that the audience failed. By shifting the blame from the "difficult artist" to the "punitive industry," the documentary genre has finally caught up with film criticism.
