Back in 2015, Hollywood and pop culture had a monumental impact that we’re still feeling even a decade later. Studios seem to be stuck in that nostalgic era, with the revival of epic franchises remaining a top priority. As moviegoers, it feels like we’re perpetually waiting for another Jurassic World, the next Superman reboot, or yet another attempt to bring the Fantastic Four back into the fold. One has to wonder just how long Hollywood can continue to thrive on the echoes of its past glories.
Fast forward to 2019, and it felt like we reached the closing chapter of a significant period. Regardless of what went down in early 2020, the final year of the 2010s symbolized the so-called end for colossal franchises like Game of Thrones, the Marvel Cinematic Universe (MCU), and Star Wars. Except, let’s be honest, it wasn’t an end. A mix of pandemic disruptions, market instability, and a general reluctance to explore new horizons has coerced Hollywood into sticking with what’s tried and tested until there’s nothing left.
The truth is successful franchises never really disappear. This phenomenon has been around for years, but when folks mention “IP saturation” nowadays, they’re talking about the overwhelming abundance of good—yet underwhelming—content. With the current frantic pace of production and distribution, the risk of things going awry increases significantly. Just take a peek at Marvel Studios’ diminishing shine or the mixed feelings toward Star Wars, despite a few successful Disney+ series.
Take a step back and observe. We recently witnessed Furiosa: A Mad Max Saga emerge, which didn’t quite reach the heights of Mad Max: Fury Road in 2015. Similarly, Indiana Jones and the Dial of Destiny in 2023 hardly made a splash culturally because younger audiences just aren’t intrigued by the character. And The Flash banking on the nostalgia of Batman wasn’t enough to captivate the Zoomer crowd. Trying to lure in only the older fans and die-hard nerds is not a surefire way to pack theaters.
Nevertheless, nostalgia’s still cashing in pretty well. Jurassic World: Dominion raked in over a billion dollars in 2022, despite harsh reviews. Universal didn’t waste time announcing a ‘new phase’ for the series. How do you combat franchise fatigue? Apparently by hitting the reset button yet again, as the reception to Colin Trevorrow’s bold moves past the first Jurassic World wasn’t as comforting for fans. Will this strategy work? Most likely, considering audiences’ undying love for dinosaurs and the success of a reimagined Alien: Romulus.
In the arena of reboots, Marvel Studios is gearing up to launch yet another Fantastic Four, a decade after the last reboot attempt. The third time might be the charm, especially as Disney and Marvel need a solid hit while navigating their way back to form, even after the nostalgic triumph of Deadpool & Wolverine. The planned retro universe and Space Race setting could be a symbolic nod to the path forward amidst the Multiverse Saga uncertainties wrapping up by 2027.
Moving forward, we have How To Train Your Dragon’s live-action version showing no new tricks, with Disney poised to revisit Snow White and Lilo & Stitch, Mission: Impossible potentially concluding Ethan Hunt’s adventures, and the Minecraft movie finally stepping into the limelight years late. Not all may turn out bad, but this concentration on intellectual property is what some call the ‘slop era.’ To find genuine originality, you might have to dig deeper as high-concept, novel blockbusters are becoming a rarity.
In this landscape, James Cameron’s plan for a third Avatar entry is refreshing mainly because it doesn’t cling to an aging IP or awkwardly translate a video game or comic book into film. Although by the time it releases, the first Avatar will have hit its sweet 16, rendering the sequels slightly nostalgic too. Personally, I appreciate the craft and creativity that goes into these movies, yet there’s no denying the influences nostalgia casts on them.
I won’t lie; I am excited about many of these projects, perhaps for some selfish reasons, hoping they rekindle life into once-vibrant worlds and tales. It’s a stance that works for me often enough. I’m an optimist by nature. However, it’d be refreshing to anticipate more unexpected crowd-pleasers, akin to Jordan Peele’s or Ryan Coogler’s novel works.
On a hopeful note, Predator seems to be in a promising spot with fresh storytelling after the success of 2022’s Prey and the tantalizing prospects of Badlands. Meanwhile, there’s a flicker of hope for Star Wars with innovative pitches, like stories post-Skywalker or a far past prequel exploring the Jedi’s origins. Until such brave narratives see the light, expect more of what we’re used to from the galaxy far, far away.
As we roll into the decade’s midpoint, with shadows around us globally, people will likely turn to movies and TV for escapism. But entertainment should also be a medium that speaks to present-day issues and gradually paves the way toward a brighter future. The current challenge seems to be the juggling of past fears with future anxieties. Meanwhile, the decision-makers behind major productions seem to have settled into a routine. It’s now a waiting game to see who makes the next move.
