In 2015, Hollywood had a monumental year—one of those seismic shifts that keeps echoing a decade on. It was a year that set the stage for an era where studios leaned heavily on nostalgic revivals and blockbuster franchises at their zenith. Now, as we find ourselves awaiting the latest Jurassic World installment, another go at Superman, and the Fantastic Four’s resurgence, it seems fair to question how much longer the industry can ride on past triumphs.
Fast forward to 2019, and it was a close of a chapter of sorts. We all remember the onset of 2020, but 2019 itself was a curtain call for iconic series like Game of Thrones, the Marvel Cinematic Universe, and Star Wars—or so we thought. Despite valiant efforts to launch new cinematic and television epics, the pandemic, market uncertainties, and a pervasive fear of the unknown have left Hollywood playing it safe, sticking to familiar grounds until the well runs dry.
Now, let’s be honest, any beloved hit isn’t gone for long. This cycle’s been ongoing for decades. When folks talk about the ‘saturation’ of IPs today, they’re referring to the overflow—the rapid churn of ‘good things’ that ends up alienating audiences from what they once cherished. The quicker the production turns, the greater the chance something flops. Just check out how Marvel Studios’ sheen has dulled recently or the ambivalent vibes towards Star Wars, despite some well-received Disney+ series.
Take a few examples: Last year, Furiosa: A Mad Max Saga, landed with a thud, never quite capturing the magic Fury Road sparked in 2015. Then there’s 2023’s Indiana Jones and the Dial of Destiny, which barely registered with younger viewers unfamiliar with ol’ Indy. The Flash suffered a similar fate, overly reliant on rehashing a Batman iteration that means zilch to Gen Z. You can’t exactly pack theaters by pandering to 50-somethings and die-hard fanatics, can you?
Still, nostalgia cashes in. Just look at Jurassic World: Dominion in 2022, which hauled in over a billion bucks even while critics and fans panned it. This windfall spurred Universal to dive into a ‘new dawn’ for the franchise, barely pausing for breath. The risk of franchise fatigue? Well, they’re once again reverting to what’s tried and true—a strategy that already worked its charm with Alien: Romulus last year, thanks to audiences’ eternal love for dinosaurs and the fresh twist on a well-loved saga.
Meanwhile, Marvel Studios is betting big on a new Fantastic Four reboot—ten years after the last attempt fizzled out. With Disney and Marvel swinging for the fences amidst the MCU’s struggles, there’s a lot hinging on the third time being the charm. Alongside, as the Multiverse Saga winds down by 2027, there’s hope the retro Space Race vibe might spark new interest, especially as some of Marvel’s newer characters fail to grab hold.
And yet, with live-action takes on How To Train Your Dragon, Snow White, Lilo & Stitch, and a Minecraft movie that’s overdue by a decade, it’s clear we’re deep in the era where intellectual property leads the charge. Sure, there’s a diamond in the rough here and there, but high-concept, genuinely fresh blockbusters are scarce.
In this landscape, James Cameron’s third Avatar film feels refreshingly different—it’s not moored to some worn-out franchise or awkwardly twisting a video game or comic. Despite that, with the original Avatar approaching its sweet 16 years, nostalgia might just be its ally too. Love or hate them, Cameron’s creating something unique, and that’s worth noting.
Don’t get me wrong, I’ve got high hopes for a lot of these upcoming entries—partly out of curiosity and partly hoping they can breathe new life into stale tales. I prefer to see the glass half full. But, like many, I’d also love to be surprised by fresh ideas, akin to the thrilling originality of Jordan Peele’s work or Ryan Coogler’s Sinners.
Interestingly, Predator is one franchise daring to write new chapters that even the longtime fans can get behind. The success of 2022’s Prey set the stage for more to come with Badlands. There’s also a flickering hope for Star Wars to break new ground, with films diving into far-future narratives post-Skywalker or digging back to the very dawn of the Jedi and the Force. Until those take flight, expect more repeat flights with X-wings and Imperial chases.
As we inch further into this decade amidst a backdrop of global gloom, it’s likely films and TV will continue to be our wrench from reality. That’s the magic of entertainment, after all. But, it’s crucial for the medium to not only entertain but also engage with current issues, nudging gently forward toward hopeful horizons.
Right now, though, it feels like we’re a bit aimless, caught between fear of what’s behind us and dread of what lies ahead. And those bankrolling these projects? Well, they seem to have it all figured out. The ball’s in their court now.
