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Notes -
Red Letter Media just did a review of Guardians of the Galaxy 3. In their usual tangent at the beginning of the video, Mike read off an online article of the 34 biggest movies coming out this year. Of the 34, 28 are sequels/remakes/reimaginings of existing properties. Of the remaining 6, 3 are based on real-life people (ex. Oppenheimer). That leaves three major movies in all of 2023 based entirely on original ideas, and all three are made by big, established filmmakers with lots of studio clout. This is a trend people have been recognizing for at least the last 5 years, if not the last decade.
EDIT - the RLM guys actually got a few of these wrong and the numbers are even worse than they thought. At least one of the 6 supposedly original films are based on a book (Scorcese's next project) and another is based on a true story (Taika Waititi's next film).
My question is -
Is there any historical precedence for this? Has there been a time and place where popular culture so heavily converged on recycling products that the flow of new products was stymied.
I don't want to be too doomer about this. There are still new, original, interesting movies being made, but they have been shuttled off to low-budget indie and streaming avenues. These days, if a movie is big enough to get a wide release, it is almost certainly not original. It's hard to imagine a new Star Wars (the original) or anything like it coming out today - a big, bold, truly original vision with a budget.
(Alternatively, maybe most of the cinematic creativity is flowing into television where for a variety of technical and cost reasons, interesting stuff can still be made on a big budget (ie. HBO).
You could frame the whole Renaissance as basically recycling the Greek/Roman culture, if you wanted to. Recycling is not bad by itself. I don't mind somebody making another Sherlock Holmes movie or a remake of Herbert Wells stories. Or even Hamlet, for that matter. Yes, it's not original, but it doesn't mean it's necessarily worthless.
But I think the decline in originality may be because the production is now controlled by a limited set of big corporations, and they would necessarily favor safe, data-driven approach. Can you prove, with data in your hands, that your new original crazy idea would make more money than Superheroes 28, take 17? Probably not. Superheroes it is.
It doesn't mean the new thing can't happen now and then, on shoestring budget just through the power of it's own creativity. Possible. But on the volume, it would be one such thing per several years, while 99% is the safe, data-driven shlock. And once that new thing comes up, it will be milked for the next two decades, turning it inevitably to the shlock too.
There’s another wrinkle, which is the international market, and especially the billion Chinese consumers and so if you want to capture sales in another culture, you can’t be too out there because that doesn’t always cross cultural lines the way an apolitical action-adventure featuring a Norse god, a goody-two-shoes and a guy with anger management issues does. It’s not very specific to us and our cultural moment. Taxi Driver and Joker cover the same descent into madness because of social ills territory, but because Joker is at least familiar to modern audiences, and pretty apolitical as well (this isn’t America, it’s a fictional city, and Arkham Asylum is known to be terrible) it’s an easy sell to audiences outside the USA and even inside the USA because it’s not really a call out of a real policy, it’s “Batman’s dad won’t help a crazy guy who thinks he’s related.”
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