In 2015, Hollywood made quite an impact on pop culture, an impact we can still feel today, almost a decade later. It was such a monumental year that studios have struggled to break free from the trend of reviving nostalgic hits and expanding beloved franchises at their heights. As we anticipate the next Jurassic World, the latest Superman reboot, and the reappearance of the Fantastic Four, one has to wonder how much longer this reliance on past triumphs can sustain the industry.
Fast forward to 2019, and it seemed we were closing a chapter. We all know how things took a turn in early 2020, but the last year of the 2010s also appeared to mark the conclusion for giants like Game of Thrones, the MCU, and Star Wars. Yet, that wasn’t entirely true. Even with some positive attempts to introduce fresh movie and TV series franchises recently, challenges posed by the pandemic, market uncertainties, and a general hesitance to embrace the future have led Hollywood to stick with familiar successes. It’s the safer, more marketable option—at least until every drop is squeezed out.
To be fair, massive hits rarely disappear for long. This has been the case for decades. But when people talk about the so-called “saturation” of intellectual properties in today’s discussion, what they’re referring to is too much of a good thing, too quickly. This deluge risks alienating fans from what they once adored. With such a relentless production and release schedule, the chance of slipping up increases. Take Marvel Studios, for instance. Their reputation has wavered recently, similar to the ever-dwindling enthusiasm for Star Wars, despite some successful Disney+ series.
Consider these just a few instances. Last year, the Mad Max spinoff, Furiosa: A Mad Max Saga, couldn’t generate the fervor Fury Road did back in 2015. Similarly, 2023’s Indiana Jones and the Dial of Destiny barely registered in cultural conversations, with younger generations not connecting to the character. The same could be said for The Flash, which leaned too much on resurrecting an old Batman iteration, irrelevant to today’s younger audiences. You can’t fill theaters by appealing solely to older fans and hardcore nerds.
Yet, nostalgia continues to be profitable. Despite poor reviews, 2022’s Jurassic World: Dominion grossed just over a billion dollars, prompting Universal to rush into a ‘new phase’ of the series without a breather in between. How do you ensure audience fatigue? By doubling down on familiar elements after Colin Trevorrow’s trilogy since 2015’s Jurassic World didn’t quite comfort the average viewer. Will their persistence pay off? Probably, as audiences love dinosaurs, and the ‘remix with a hint of originality’ has worked well enough for Alien: Romulus last year.
Looking at Marvel’s roster, their Fantastic Four reboot emerges as a top priority after Disney’s acquisition of Fox’s library. It’s slated to debut a decade after their last effort to revive the seemingly cursed IP. They say the third time’s the charm, but it’s a heavy lift for Disney and Marvel as the MCU struggles to regain stability despite Deadpool & Wolverine’s recent triumph (another victory fueled by nostalgia). Set against a retro, alternate-universe Space Race backdrop, this new venture carries deeper implications, suggesting a shift in strategy as the Multiverse Saga awkwardly wraps up by 2027.
Elsewhere, Hollywood is revisiting beloved tales, as seen with the live-action rendition of How To Train Your Dragon, possibly mirroring Disney’s approach with Snow White and Lilo & Stitch. Meanwhile, Mission: Impossible – The Final Reckoning could bring Ethan Hunt’s journey to an end, though likely not the series itself. And don’t forget the long-awaited Minecraft movie, finally arriving after more than ten years. Each of these projects won’t necessarily be terrible, but they illustrate why audiences often describe this as a ‘slop era,’ where franchises overshadow creativity. While genuine, innovative blockbusters are scarce, you can find refreshing experiences elsewhere.
In this mix, James Cameron’s third Avatar film might feel like a breath of fresh air—at least, it’s not leaning on a worn-out old IP or trying to awkwardly adapt a video game or comic book. Still, the first Avatar was released 16 years ago, suggesting even these sequels have a touch of nostalgia by now. As much as I appreciate Cameron’s work and trust his team to deliver standout productions, there’s no denying the reality.
I won’t deny it—I’m genuinely excited for several upcoming projects, perhaps for distinct reasons. I hope that creatives can inject new life into once-vibrant stories and universes. My optimism often pays off, at least personally. I see myself as a ‘glass half full’ person. However, I eagerly anticipate more fully unexpected crowd-pleasers, much like the works of Jordan Peele or Ryan Coogler’s Sinners.
Interestingly, the Predator franchise seems poised to tell new stories while pleasing old fans following 2022’s Prey and upcoming details about Badlands. Plus, there’s a flicker of hope for Star Wars with forward-looking pitches such as post-Skywalker Saga films starring Rey or prequels showing the Jedi Order’s origins. Until those promising ideas come to fruition, though, prepare for more cameo X-wings and Imperial Remnants.
As we approach the middle of the decade amid a rough global climate, audiences might increasingly turn to films and TV as a form of escapism. Crowd-pleasing entertainment has always served this purpose. Yet, I believe it’s crucial for art to continually engage with current issues and gently yet firmly edge us toward a brighter future.
At present, it often feels like we’re caught between a rock and a hard place, unsure of whether we’re more afraid of our past or the unknown future ahead. Meanwhile, producers and investors in mainstream media have already made their decisions. It’s your move now.
