Back in 2015, Hollywood and the broader pop culture landscape were buzzing with excitement and success, and the ripples of that year are still being felt a decade later. It was a time marked by nostalgic revivals and the peak of blockbuster franchises, resulting in a current industry that seems hesitant to move on. With new iterations of iconic series such as Jurassic World, yet another take on Superman, and the return of the Fantastic Four on the horizon, it’s hard not to wonder how much longer this reliance on past glories will last.
2019, in many respects, became the curtain closer for a certain era. Many anticipated the winds of change the following year, yet the reality was that key franchises like Game of Thrones, the MCU, and Star Wars didn’t truly conclude. Despite some genuine attempts to spark new cinematic and television phenomena in recent years, factors such as the pandemic and economic uncertainties have steered Hollywood towards milking familiar, easily marketable properties dry.
Let’s face it, success stories from the past rarely vanish for good. This throwback trend has been in play for decades, but the term ‘saturation’ now refers to being bombarded with too much, too quickly. This can leave audiences fatigued or disenchanted with what they once adored. The relentless pace at which content is produced and released inherently increases the odds of blunders. Consider the recent waning of Marvel Studios’ standing or the general indifference towards Star Wars, despite a few Disney+ hits.
There are plenty of examples to illustrate this point. Take last year’s Furiosa: A Mad Max Saga—it just didn’t generate the same buzz that Fury Road did in 2015. Similarly, the latest Indiana Jones film released in 2023, Indiana Jones and the Dial of Destiny, didn’t make much of a splash in the collective conversation, as newer audiences are largely disconnected from the character. The same goes for The Flash, which banked heavily on bringing back a classic Batman iteration that modern young viewers couldn’t relate to. Today’s cinema seats aren’t filled by appealing solely to retro buffs and scholars of yesteryears, after all.
Yet, nostalgia remains a powerful currency. Jurassic World: Dominion raked in over $1 billion globally last year, despite widespread critical panning. That success undoubtedly spurred Universal to push forward with a new phase quicker than anyone expected. It’s all about returning to what resonates—or rather, what is believed to resonate—when the bold choices made in the earlier films no longer comfort fans. Whether this strategy pays off remains to be seen, though dinosaurs do tend to hold perennial charm, as evidenced by the success of recent iterations like Alien: Romulus.
Marvel Studios’ upcoming reboot of the Fantastic Four, which Disney prioritized post their acquisition of Fox’s assets, will grace screens after a decade since the last, less-than-stellar attempt. The adage ‘third time’s the charm’ finds itself heavily laden in this context, as Disney and Marvel attempt to regain footing amidst recent challenges, despite the nostalgia-fueled triumph of the Deadpool & Wolverine pairing. The project, set against a retro backdrop amid an alternate-universe Space Race, seems like a double down on nostalgia—a signpost of where the MCU might steer after the Multiverse Saga ends around 2027.
In other areas, there’s a live-action How To Train Your Dragon remake promising little innovation, potential Snow White and Lilo & Stitch remakes from Disney, Mission: Impossible’s latest touted as Ethan Hunt’s final chapter (but probably not the franchise’s), and a Minecraft movie arriving significantly late. While these might not all be disappointing, this is what audiences mean by calling this a ‘slop era’—where quality original projects take a backseat to franchise holders. Truly fresh and high-concept blockbusters? They’ve become unicorns.
Within this context, James Cameron’s third Avatar installment is touted as distinctive—not spun from a tired boomer IP or force-fitted into a game or comic narrative. However, as the original Avatar turns 16 on the new movie’s release, there’s an undeniable nostalgic element to these sequels too. Personally, I’m enamored with those films, believing in the exceptional work behind them, but still recognizing the inclination towards familiarity.
In all honesty, I’m excited about many upcoming releases, perhaps out of hope that these franchises will reinvent themselves enough to regain their original allure. I try to maintain a positive outlook, but truly crave unexpected hits akin to Jordan Peele’s or Ryan Coogler’s stunning works.
Interestingly, the Predator series, following 2022’s Prey, seems poised to break new ground while connecting with its roots—a path Star Wars also could take, with whispers of new directions post-Skywalker. Until these ideas take shape boldly, though, brace for more X-wings and remnants of the Empire.
Amidst a turbulent decade, audiences likely will seek cinematic escapism more than ever. Yet, it’s imperative for art to engage with today’s issues and strive towards progress. Currently, we seem at sea, wobbling between clinging to the past and fearing the future. But as filmmakers and studios navigate these tides, ultimately, the decision lies with them. Their move.
