Back in 2015, Hollywood and pop culture experienced a monumental year that we’re still seeing the ripple effects of even a decade later. The impact was so profound that many studios have been caught in a cycle of revisiting that nostalgic era, clinging to the days when major franchises were at the height of their glory. As we gear up for another Jurassic World, yet another take on Superman, and the revival of the Fantastic Four, it leaves us pondering just how much longer the industry can thrive on revisiting the past.
2019 felt like it marked the end of an era. We certainly remember what followed in early 2020, but that year also saw the so-called finale for massive franchises like Game of Thrones, the Marvel Cinematic Universe, and Star Wars… or did it? Despite some strong attempts to launch new film and TV franchises in recent years, the pandemic, economic jitters, and a general hesitance to embrace the future have driven Hollywood to keep sticking with what’s familiar and easy to market, even if it’s starting to run dry.
Let’s be honest, once something has been a massive success, it rarely stays gone for long. This has been going on for ages, but when folks talk about the ‘oversaturation’ of IP these days, they’re often referring to the excessive and rapid output of things they used to adore, which can ultimately lead to burnout. The rushed pace of production and distribution means there’s less room for error. Take a look at the challenges Marvel Studios has faced in recent years, or the waning interest in Star Wars, despite a few standout Disney+ shows making waves.
Look at last year, for instance. Furiosa: A Mad Max Saga, the first Mad Max spinoff, didn’t spark the same level of buzz as Fury Road did back in 2015. Similarly, the 2023 release of Indiana Jones and the Dial of Destiny barely registered in cultural discussions because younger audiences aren’t particularly invested in the character. The same can be said for The Flash, which leaned heavily on bringing back a version of Batman that doesn’t resonate with the average zoomer. It’s tough to pack theaters by solely appealing to older fans and nerds like us.
That said, nostalgia still proves to be a lucrative gamble. Despite unfavorable reviews from critics and fans alike, 2022’s Jurassic World: Dominion pulled in over $1 billion, prompting Universal to push forward with a ‘new era’ for the franchise without much of a break. How do you risk fatigue? By going back to the basics, especially when the average viewer wasn’t entirely satisfied with Colin Trevorrow’s daring moves after 2015’s Jurassic World. Will this strategy pay off? Probably, since general audiences still seem to love dinosaurs, and the ‘remix with a hint of newness’ worked decently for Alien: Romulus last year.
The upcoming Fantastic Four reboot from Marvel Studios, a priority after Disney acquired Fox’s library, is set to arrive a decade after the last attempt to rekindle the (apparently cursed) IP. They say third time’s the charm, yet Disney and Marvel are putting extra pressure on this as the MCU as a whole struggles to regain its footing, even after the recent success of Deadpool & Wolverine (another nostalgic cash-in bringing back heroes long past their prime). Within this framework, setting the story in an alternate-universe Space Race has a double-edged implication, particularly when newer, more diverse Marvel characters haven’t caught on for various reasons. Maybe this hints at the future direction post-Multiverse Saga, which will awkwardly conclude by 2027.
Elsewhere, we’re seeing How To Train Your Dragon getting a live-action remake that doesn’t promise much new, Disney likely doing the same with Snow White and Lilo & Stitch, and Mission: Impossible – The Final Reckoning trying to close Ethan Hunt’s chapter (though probably not the franchise). Meanwhile, the Minecraft movie is arriving over a decade late. While not every one of these will flop, this is what fatigued moviegoers mean when they talk about the ‘slop era’ where existing IPs take precedence. Sure, you can occasionally find unique resources, but genuinely innovative blockbusters are scarce.
In this environment, James Cameron’s third Avatar film could seem ‘fresh’ since it’s not locked into a worn-out boomer IP or awkward spin-offs from video games or comics. Still, given that the original Avatar will be 16 years old by its release, the sequel’s plans might now be considered nostalgic too. Don’t get me wrong; I love these films and truly believe they manage to distinguish themselves, but it is what it is.
I’ll admit it: I’m genuinely excited for many of these, perhaps for differing reasons, maybe in hopes that creative minds will breathe new life into these tired stories and universes that once captured our imaginations. This attitude generally pays off for me, especially since I see the glass as half full. Yet, I’d also love to look forward to more surprising crowd-pleasers, like those crafted by Jordan Peele or Ryan Coogler’s Sinners.
Interestingly, the Predator franchise seems poised to tell fresh stories that also appeal to longstanding fans after 2022’s Prey and what we know so far about “Badlands.” There’s a glimmer of hope for Star Wars too, with pitches like a post-Skywalker saga film led by Rey or a distant prequel exploring the origins of the Jedi Order and the inception of the Force. Until those brave new attempts materialize, expect to see more X-wings and Imperial remnants.
As we reach the mid-point of the decade with the world showing signs of turmoil, it’s likely that audiences will gravitate towards movies and TV for a temporary escape. After all, entertaining the masses has always been about that. But we must also push for these art forms to address present challenges and dare to forge a path, however slowly, towards a brighter future.
The real challenge, however, is that right now it feels as though we’re in limbo, unsure whether we’re more afraid of the past or what’s to come. Yet, those pulling the strings in mainstream cinema seem to have their minds made up. It’s your move, Hollywood.
