Woke is running from huge signs

The debate over art—whether it should be judged purely on its quality or filtered through the lens of identity—has always been a contentious one. Even giants like Stephen King have weighed in, asserting that true artistic merit must stand above the backgrounds of the creators. Yet, pushing this philosophy often invites intense friction.

When King championed the idea that art should be judged by its substance rather than the skin color or religious identity of its creator, he immediately stepped into a difficult cultural arena. His assertion that quality matters most sparked controversy, leading to backlash from groups who felt identity politics must hold greater weight in artistic evaluation.

This tension reflects a broader cultural shift. The intense focus on identity politics—what some have labeled the “woke mind virus”—has seen some of its fervor subside. We are seeing a noticeable cooling as roast comedies make a comeback and previously cancelled artists find their way back into the spotlight, suggesting a move toward less rigid ideological battles in public discourse.

But does this cultural healing extend to the arts? The question remains whether meritocracy is truly thriving when evaluating cinematic talent and festival curation. We see this reflected in recent discussions surrounding the Venice Film Festival, where the focus turned sharply to gender representation.

At the 2026 gala, attention was drawn to a notable lack of female-directed films in the key competition, with only one entry from a woman, May El-Toukhy’s “Woman Unknown.” This raised immediate questions about the role of quotas and identity in determining artistic recognition.

When pressed on this balance, Venice Chief Alberto Barbera offered a compelling defense, refusing to concede to what he described as a weakening cultural mob. Barbera argued that his selection criteria were strictly based on quality. He noted that fewer films were submitted this year—only 24% compared to previous years—and that some submissions simply did not meet the requisite standard.

Barbera emphasized that selecting films based on gender is counterproductive and potentially humiliating for artists, stating that the focus should remain solely on whether a film is good. He insisted that the festival was absolutely opposed to selecting films based on gender because it detracts from judging the actual artistic merit.

This position highlights the ongoing struggle: balancing the desire to recognize and uplift diverse voices with the fundamental principle of judging creative work by its inherent excellence. The debate ultimately circles back to the core query: is art judged by who makes it, or what it achieves?