Back in 2015, Hollywood experienced a massive shake-up, a year whose influence is still being felt a decade later. Studios found themselves somewhat stuck in that nostalgic era of revivals and mega franchises that reached the height of their fame. As we await the arrival of yet another Jurassic World, a new Superman reboot, and the return of the Fantastic Four, it’s hard not to wonder how much longer the industry can keep banking on these blasts from the past.
Jumping ahead to 2019, it felt like the curtain was coming down on a certain chapter. Now, while everyone remembers what kicked off in early 2020, the end of the 2010s also meant saying ‘goodbye’ (or so we thought) to big names like Game of Thrones, the MCU, and Star Wars. However, instead of fresh beginnings, we’ve seen a pandemic, market slowdowns, and a hesitance to dream big leading Hollywood to stick with what’s comfortable and easy to sell—relying heavily on tried and tested hits until they’re seemingly worn out.
Let’s face it, if something was a big hit, it rarely stays gone. This has been the trend for ages. When folks talk about ‘IP saturation’ now, they mean getting overwhelmed with too much too soon, which actually dulls the excitement for cherished franchises. With the relentless churn of content, the odds of slipping up skyrocket. Just take a look at Marvel Studios’ current standing or the general indifference towards Star Wars, despite a handful of Disney+ shows gaining traction.
Consider these instances: last year’s Furiosa: A Mad Max Saga, the first spinoff of the Mad Max series, didn’t capture the buzz Fury Road did back in 2015. Similarly, Indiana Jones and the Dial of Destiny in 2023 barely made waves, as newer audiences aren’t that interested in the character. The Flash depended too much on a version of Batman that means little to today’s younger crowd. If you’re looking to pack theaters, aiming at middle-aged fans and hardcore nerds isn’t the ticket, unfortunately.
Yet overall, nostalgia remains a goldmine. In 2022, Jurassic World: Dominion managed to earn over $1 billion, despite taking a beating from both critics and fans. This quick and lucrative turnaround explains why Universal is plunging into a ‘new era’ for the franchise with almost no breathing space. The way to spawn fatigue? By heading back to square one (again) after fans felt Colin Trevorrow’s ambitious trilogy lost its charm post-2015’s Jurassic World. Paying off? Probably, because people just adore dinosaurs, and mixing the old with a hint of new worked well enough for Alien: Romulus last year.
Now, the Marvel Studios Fantastic Four reboot is gearing up a decade after the last try to revive the seemingly jinxed series. Conventional wisdom says third time’s the charm, yet Disney and Marvel are laying on the pressure as the MCU battles to regain its former vigor, despite Deadpool & Wolverine’s recent success, largely driven by nostalgia. With this context, the retro setting of the Space Race being an alternate universe has dual significance. Given the struggle of more diverse Marvel characters to woo audiences for various reasons, this could hint at future directions post-Multiverse Saga by 2027.
Elsewhere, we find How To Train Your Dragon’s live-action revisit making no groundbreaking leaps, with Disney seemingly following suit with remakes such as Snow White and Lilo & Stitch. Mission: Impossible – The Final Reckoning promises to draw Ethan Hunt’s story to a close (though probably not the franchise), and there’s a Minecraft movie, tardy by over ten years. These are just highlights. There may not be outright flops, but they illustrate the ‘sloppy era’ many moviegoers refer to, where existing IP takes the headline. Sure, fresh ideas are out there, but original, high-concept blockbusters remain scarce.
Within this landscape, James Cameron’s third installment in his five-part Avatar series might be deemed ‘fresh’ merely for not being part of an exhausted boomer IP or awkwardly adapting a video game or comic story. Yet, by the time this next chapter arrives, the original Avatar will be 16 years old, which likely gives these sequels a nostalgic tinge. I’m a fan and believe in Cameron’s exceptional work, but there’s no denying its age.
Honestly, I can’t help but feel a twinge of excitement for several of these projects, possibly for different reasons—hoping they inject energy into once-glorious tales and worlds. It’s a gamble that often pays dividends for me. Plus, I’m an optimist at heart. Still, I wish for more surprises, much like Jordan Peele’s films or Ryan Coogler’s Sinners.
Interestingly, the Predator franchise stands poised to bring something new that can still win over longtime fans after 2022’s Prey and promising hints from upcoming projects like Badlands. There’s also a flicker of hope for Star Wars with forward-looking ventures such as a post-Skywalker movie led by Rey or a distant prequel exploring the dawn of the Jedi Order and the first wielders of the Force. Until these daring themes come to life, brace for more familiar X-wings and Imperial remnants.
As we cruise further into this decade, with everything being a bit bleak worldwide, audiences are likely to turn to films and TV for a breather. After all, entertainment has always been about providing that escape. However, it’s crucial to ask that these creative endeavors confront current issues and make strides, however small, towards a brighter future.
The critical hitch is it often feels like we’re caught drifting, uncertain if we’re more afraid of what’s behind or ahead. Meanwhile, for those financing these mainstream ventures, they seem to have it all figured out. The ball’s in their court.
