Back in 2015, Hollywood enjoyed a significant year that has left ripples across the entertainment industry over the past decade. It was a year marked by nostalgic revivals and blockbuster franchises, and since then, studios seem to be stuck in that golden era. These days, as we anticipate another Jurassic World installment, a fresh Superman reboot, and the re-entry of the Fantastic Four, it makes you wonder how long Hollywood can keep riding this train of nostalgia.
Jump ahead to 2019, and it seemed like the curtains were closing on an era. We all remember the shift at the beginning of 2020, but 2019 also felt like a wrap-up year for colossal sagas like Game of Thrones, the Marvel Cinematic Universe, and Star Wars. Yet, that’s not completely true. Despite numerous attempts to kick off new movie and TV franchises, factors like the pandemic, market instability, and hesitation to venture into uncharted waters have led Hollywood to stick with safe and marketable choices until every ounce of magic is squeezed out.
Admittedly, nothing truly successful disappears for good. This cycle has been ongoing for ages, but when people speak of ‘IP saturation’ today, they’re referring to the overwhelming onslaught of what was once a beloved entity. Production paces have become relentless, increasing the risk of missteps. Recent perceptions of Marvel Studios or the waning excitement around Star Wars—despite a few successful Disney+ shows—are prime examples.
Take, for instance, last year’s lackluster reception for Furiosa: A Mad Max Saga, which paled in comparison to the buzz generated by 2015’s Fury Road. Similarly, Indiana Jones and the Dial of Destiny in 2023 barely made a cultural impact because newer audiences just don’t have the same connection. The Flash stumbled too, leaning too heavily on a vintage Batman iteration that holds little sway with younger audiences. It’s tough to pack theaters by targeting fifty-something men and hardcore nerds.
Yet, nostalgia still turns a profit. Jurassic World: Dominion pulled in over a billion dollars in 2022 despite harsh critiques, motivating Universal to dive headlong into another ‘new era’ for the franchise without much of a breather. The strategy? Go back to the basics, since Colin Trevorrow’s bold moves in his trilogy after 2015’s Jurassic World didn’t comfort fans enough. This approach might work, as the general audience seems to have a soft spot for dinosaurs, similar to how Alien: Romulus managed a successful blend of remix and novelty last year.
Marvel Studios is also taking a swing at another Fantastic Four reboot—a decade after their last attempt—following Disney’s acquisition of Fox’s vast library. The saying goes that the third time’s the charm, but there’s tangible pressure as the MCU strives to regain its ground despite hits like Deadpool & Wolverine, which owe their success largely to nostalgia. The Fantastic Four’s setting in a retro, alternate-universe Space Race adds layers of meaning, suggesting a new direction in light of the Multiverse Saga’s anticipated awkward conclusion by 2027.
Elsewhere in the industry, live-action adaptations like How To Train Your Dragon seem stuck in the past, and Disney is likely gearing up similar treatments for Snow White and Lilo & Stitch. Meanwhile, Mission: Impossible attempts to wrap up Ethan Hunt’s journey (though the franchise may persist) and we’ve got the Minecraft movie showing up fashionably late. Not all of these undertakings will be flops, but for those weary of the same old IP-heavy offerings, the complaint rings true: we’re in an era where original blockbusters are hard to come by.
In contrast, James Cameron’s upcoming third Avatar film stands out as a relatively fresh take, as it isn’t recycling an old franchise or falling into the trap of video game or comic book adaptations. Yet, with the first Avatar set to celebrate its 16th anniversary when the sequel lands, even this expansion feels nostalgic. Despite that, I have a soft spot for these films and am confident that Cameron’s team pours extraordinary work into these projects.
To be honest, I’m excited for several of these releases, perhaps for different reasons. Maybe it’s about hoping these films inject needed life into tales and universes that once enthralled us. I’m the sort who sees the glass as half full. But what I truly crave are unexpected blockbusters—the likes of Jordan Peele’s groundbreaking films or Ryan Coogler’s Sinners.
Interestingly, the Predator franchise finds itself poised to intrigue fans both old and new, especially after the praise for 2022’s Prey and the buzz surrounding Badlands. Star Wars offers a glimmer of hope too, with innovative concepts like a post-Skywalker movie featuring Rey or a distant prequel exploring the origins of the Jedi Order—though these ideas are yet to materialize.
As we reach this midway point in the decade, global uncertainties seem likely to push audiences toward films and TV shows as a form of escape. Entertainment has always played a role in providing that release. Yet, we must still advocate for stories that confront today’s issues, gradually and boldly steering us toward a brighter future.
Right now, though, it feels like we’re lost at sea without a clear direction, unsure if we’re more afraid of what’s past or what’s ahead. The folks financing these mainstream productions? They seem to have their strategy all set. Now it’s their move.
