By the time I finally stopped watching television, more than a decade ago, even the shows I liked best were being spoiled by the producers’ need to include politically correct themes, issues, and characters. There can be no objection to having, for example, bad people, in fiction, who are nominally Christian, or good people who are same sex–attracted, but if they invariably turn out that way, one begins to wonder if something strange is going on. At the same time, writers were having to make their plots more and more macabre to maintain a constant level of shock value. Between the obeisance to political correctness and the display of dismembered corpses, the human interest of the drama seemed to have slipped away.
The decay of modern culture manifests itself in a different way in theatre. I watch a fair number of plays, including open-air Shakespeare and student productions in and around Oxford. The summer season has just come to a close, and while some of the productions have been excellent, others have been problematic. When presenting classical drama, a view has taken hold, less so at the top level of professional theatre, but elsewhere, that the sex of a character does not affect the relationships between that character and others.