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Anyone remembers (or even heard of) the Insidious? The supernatural series that hasn't made one good movie since the original, like most horror/slasher flicks since the 80s? Well, they just released another movie, one that I didn't even know existed until I went to watch Across the Spiderverse with a friend last night. And guess what, despite the teetering reputation and C+ reviews on Cinema Score, it managed to become a commercial success and knocked the Indy Jones finale with a much bigger domestic box office opening.
This fad has been going on for years but (to me, at least) it never stops being remarkable how big tentpole entries that raked hundreds of millions in the past just manage to fall flat. These franchises tend to be somewhat bulletproof, there's more room for failure and these brands usually wouldn't take a hit due to a few bad entries. Yet, here we are. It seems like Indiana Jones Dial of Destiny might not make back its PRODUCTION budget, let alone break even, that's just out the window. How do you get handed the keys to the most beloved IP's there are, with passionate fandoms falling over themselves to rain cash on you for merch, something that's effectively been a cultural icon for decades, and turn it into a hot pile of steaming crap that no one wants to get 10 yards within? They could make the Crystal Skull (which still raked good money btw) and get away with it. Now, all of a sudden, DoD is the final nail in the coffin.
Every time we pointed out the warning signals, the /r/IndianaJones circlejerk simply kept dismissing us as bigots still continue to defend it like it's some misunderstood masterpiece and the only ones who hate it are incels that can't handle strong women. It's the same theme every single time. We knew Disney was BS'ing nostalgia when it brought back Palpatine, not coming up with something "daring and creative". It hasn't been a full year since RoP, the excuses went from "they've only revealed the casting, we haven't even gotten a first look yet" --> "it's not even out yet, you've just seen the trailer" --> "you've seen one episode, how can you gauge anything from it" --> "most shows don't get good until the 2nd or 3rd season, give it a chance!" You just can't win here. It turns out exactly as terrible or even worse than what we'd expected, to the point where the brand name gets reduced to the same tier as any other obscure brand like Insidious. Yet, we always have the very same passionate circlejerk defending these movies on every fandom on social media. Nor will we ever see Kathleen Kennedy lose her job. I used to think it was plausible it was a grand conspiracy to fuck over the middle class by subverting our culture and values, then I thought it was just Hanlon's Razor, now I'm not even sure.
It’s the Matrix 3 effect, in my opinion. Matrix 1 was a modernist film about postmodernism, which is why it won big. Matrix 2 was a deconstruction of Matrix 1, and upped the ante on ideas, spectacle, and CGI, but focused on deglamorizing the lives of revolutionaries. Matrix 3 went full postmodern, with a “who do we root for?” ending which was barely explained despite its double big sacrifice.
Matrix 1 and Last Crusade are both practically perfect movies, Matrix 2 and Crystal Skull are both CG heavy cash-ins, and I believe I’ll feel the same way after watching Dial of Destiny the way I felt after Matrix 3.
It's a bit funny that an industry so dedicated to pumping franchises for money insisting on deconstructing their properties for no apparent reason at all, especially when the deconstructions aren't even good or creative.
Why not just give the audience what it wants? Ie. Another adventure man, rom com, war hero, horror, whatever.
I'm not saying that deconstruction can't be a good idea but why does every franchise have to be deconstructed? Why does almost every movie have to be about deconstruction of narrative tropes or the movie making process?
And in addition to that deconstruction is so common that the target audience often isn't even familiar with the trope that's being deconstructed any more. Every movie with a princess is careful to subvert the expectation that she'll be a damsel in distress who needs rescuing. All of the princesses are sassy feminists who know karate or have super powers and are conspicuously more competent than the male lead. But when was the last time a major animated feature film did the damsel in distress thing? Looking on Wikipedia I think it was Sleeping Beauty in 1959. So a kid watching Disney today is watching a deconstruction of a trope that hasn't really existed since their great grandparents were going to the movies.
Hercules is a fairly straightforward coming-of-age story where the hero rescues a damsel in distress, but Meg is a little sassy and more of a femme fatale than a damsel. The Swan Princess is more of a pure damsel in distress movie, and bombed in 1994, which might explain why people shied away from this genre.
Earlier than that, The Princess Bride (1987) is notable for having a dumb, beautiful protagonist who is clearly a damsel n distress, though it is not animated. Star Wars in 1977 felt the need to make Leia a strong independent woman who did not need to be rescued, so The Princess Bride was quite brave. Whoopi Goldberg was considered for the role of Buttercup, which would have been different.
My son's favorite character was Gaston, and he believes the movie is a tragedy and should end with Gaston falling from the roof. From his point of view, Gaston did nothing wrong. His crush was captured and imprisoned by a beast, so he roused the village to rescue her. Stockholm syndrome is to be expected, so we can't take Belle's word for things, as "No denying she's a funny girl that Belle."
Based son, he already understands the concept of war brides and Stockholm syndrome being a female-coded phenomenon. We'll watch his career with great interest.
Your son's hardly alone. Gaston and his dark triad personality has many teenage and adult women swooning, hence fanart such as this.
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Didn’t Leia need to be rescued? She was set to be executed. Yes, she wasn’t helpless and was competent. But it is clear throughout the movies that Leia was the moral center but not the physical one.
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Gaston is by any measure the hero of the movie. He's a paragon, the absolute image, of his people, and they adore him. He is the bringer of benefit, the one who is capable of moving them to action as a body.
Gaston’s problem in the end was that he wasn’t masculine enough for Belle.
To channel my inner Sloot, I thought it was that his house wasn't big enough.
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