Celebrating a Decade: Jurassic World, Star Wars: The Force Awakens, and Fantastic Four as Hollywood Clings to Nostalgia

Back in 2015, Hollywood had a monumental year that still echoes through the industry today. It sparked a wave of nostalgia and blockbuster franchises that remain at the forefront. As we look forward to another Jurassic World, the umpteenth Superman reboot, and the reappearance of the Fantastic Four, you have to wonder how much longer Hollywood can ride this wave of nostalgia before it runs dry.

By 2019, it seemed like we were witnessing the conclusion of a significant era in entertainment. Everyone remembers what followed in early 2020, but 2019 itself brought what seemed like finales for iconic series like Game of Thrones, the MCU, and Star Wars. Yet, the end never quite came. The Hollywood machine, hindered by the pandemic, economic uncertainties, and a reluctance to innovate, continued its tradition of leaning on existing, well-loved franchises until they’ve been thoroughly exhausted.

It’s worth pointing out that successful franchises don’t often fade away for long. This has been the case for decades, but when people mention an ‘oversaturation’ of intellectual property these days, they’re talking about being inundated with too much of a good thing, leading to audiences losing interest in the franchises they once adored. As the pace of production accelerates, so does the risk of blunders. Just look at Marvel Studios’ recent struggles or the lukewarm reception of many Star Wars projects, despite a few Disney+ series performing well.

Consider the case of last year’s Furiosa: A Mad Max Saga. It didn’t stir the excitement that Fury Road did back in 2015. Similarly, Indiana Jones and the Dial of Destiny in 2023 barely made a dent in popular culture because today’s younger viewers don’t connect with the character like previous generations did. The same goes for The Flash, which, despite banking on an old iteration of Batman, failed to resonate with modern audiences. You’re not packing theaters by solely targeting 50-something fans and die-hard nerds anymore.

Still, nostalgia clearly remains profitable. Jurassic World: Dominion from 2022 grossed over $1 billion regardless of the poor reviews, prompting Universal to swiftly usher in another ‘new era’ for the franchise without pause. Returning to familiar territory while throwing in a new twist seems to work, even if Colin Trevorrow’s more daring takes didn’t completely stick after the success of the initial Jurassic World. With audiences still craving dinosaurs, much like Alien: Romulus did last year, this approach might actually succeed.

Marvel Studios’ upcoming Fantastic Four reboot, a goal following Disney’s acquisition of Fox, arrives a decade after the last attempt to revive the franchise. They say the third time’s the charm, but Disney and Marvel are betting heavily on it, especially as the broader MCU grapples with its own challenges, despite recent nostalgic hits like Deadpool & Wolverine. Setting the story against a retro, alternate-universe Space Race backdrop seems to highlight a broader trend, particularly as some newer Marvel characters fail to connect for various reasons. Perhaps this signals the direction the MCU will head in once the Multiverse Saga ties up its loose ends by 2027.

On the horizon are How To Train Your Dragon’s live-action remake, Disney’s anticipated takes on Snow White and Lilo & Stitch, Mission: Impossible – The Final Reckoning, trying to wrap up Ethan Hunt’s journey—and the long-overdue Minecraft movie. Not all of these will flop, of course, but they reflect the ‘slop era’ moviegoers often lament, where recognizable IP trumps fresh storytelling. Original blockbusters with high concepts have become rarities.

In this climate, James Cameron’s third Avatar film (out of five planned) emerges as something new, in that it’s not bound to a dated IP or an awkward adaptation of another medium. Yet, with the first Avatar being a good 16 years in the rearview by its release, even this series may now flirt with nostalgia. Personally, I appreciate the effort Cameron and his team invest in these films, but it can’t escape the familiar feeling.

I won’t hide my anticipation for many of these projects, perhaps for varied themes or the hope that creators can breathe fresh life into once-vibrant worlds. It’s a gamble, but one I’m willing to take. Optimistically, I wish for more unforeseen blockbusters like those helmed by Jordan Peele or Ryan Coogler’s Sinners.

Interestingly, franchises like Predator find themselves in a position to craft new stories that engage long-time fans, especially after the release of 2022’s Prey and what we expect from Badlands. Likewise, Star Wars holds a glimmer of hope with visions like a post-Skywalker saga film centered on Rey, or a distant prequel exploring the Jedi Order’s inception and the beginning of the Force. Until these projects come to fruition and take thematic risks, audiences can expect more X-wings and Imperial sightings.

As we hit the midpoint of this decade and navigated through global challenges, escapism through film and television remains vital for many. Nevertheless, it’s crucial that mainstream art addresses current issues and pushes cautiously towards progress.

At the moment, it feels like we’re adrift, unsure if we fear the past or the future more. As for those financing these blockbuster productions, they seem to have their strategies set. The next move is up to them.