The Rise of Independent Businesses: Challenging the Franchise Model

Article Summary

Audiences are tired of franchises and sequels that no longer make financial or creative sense, signaling a shift in cinematic tastes.

Movie enthusiasts prefer to watch films that are based on unconventional sources and have not previously been made into movies, as they crave unique and innovative experiences.

Film production companies must address the need for fresh narratives and innovative ideas, instead of solely concentrating on the routine practice of turning existing properties into franchises and sequels.

Since the inception of blockbuster films like Jaws and Star Wars, Hollywood has shifted its focus towards creating franchises. The allure of producing movies that can generate endless merchandise and sequels has captivated studio executives. This fascination has only intensified in recent years, especially in the 2010s with the rise of cinematic universes. As a result, major studios have become cautious, predominantly investing in large-scale tentpole films and neglecting smaller projects. Even indie studio A24 is not immune to this trend, reportedly aiming to produce more franchise content.

However, the question remains: do audiences truly desire this? Moviegoers have always been drawn to films with unique and intriguing concepts, rather than solely relying on the existence of expensive blockbuster titles. While superhero sequels and other franchise films often attract large crowds, they are not the only movies that audiences choose to see. Throughout the years, there have been instances where original films outperformed franchise entries. For example, Pretty Woman surpassed Dick Tracy in 1990, 50 First Dates outgrossed Van Helsing in 2004, and Knives Out outperformed Godzilla: King of the Monsters in 2019. These examples demonstrate that audiences are often more interested in fresh and original ideas, rather than projects solely designed for merchandising purposes. The box office landscape in 2023 serves as a stark reminder of this reality. While audiences still appreciate sequels, adaptations, and franchise films, many long-standing sagas that Hollywood heavily relied on are no longer relevant. Moviegoers have moved on from numerous major franchises that once defined the industry's future.

Why Aren't the Major Studios Giving Audiences What They Want?

According to Brad Bird, the major movie studios lack independent direction and instead behave like "sharks," constantly chasing what is immediately in front of them. This mindset is evident in the current franchise landscape, where films are no longer made based on their potential profitability or long-term merchandise sales. Instead, it feels as if they are produced as part of a mechanical routine, an obligation to continue franchises even when they are past their prime and regardless of audience demand. Despite the underperformance of the previous two Transformers movies, Transformers: Rise of the Beasts was allocated a staggering $200 million budget, which is 18 times more than its predecessors. Similarly, Indiana Jones and the Dial of Destiny supposedly required a budget exceeding $300 million, but was it truly necessary? In the past, an abundance of Star Trek or Star Wars sequels hit theaters because there was a clear demand from audiences. However, in today's world, studios are so desperate for franchises that they will eagerly embrace any sequel or intellectual property, regardless of its financial or logical feasibility. It seems that sequels are now seen as inherently invincible, immune to failure.

Moviegoers consistently express their disinterest in the current state of cinema through their ticket purchases. Warner Bros. took note when The Intern outperformed King Arthur: Legend of the Sword, leading the studio to prioritize similar movies. Universal also witnessed Girls’ Trip rake in more money than The Mummy, yet they continue to neglect the demand for stories that resonate with Black women. These issues have been prevalent in Hollywood for some time now, and they have only worsened in the past decade. Executives are unwilling to analyze the data and understand what average moviegoers truly desire, which has become particularly evident in 2023.

Audiences have consistently rejected numerous franchise sequels, including Ant-Man and the Wasp: Quantumania, The Flash, Dial of Destiny, Gran Turismo, and The Expendables 4, to name a few. It's not that audiences despise all sequels, as evidenced by the success of Spider-Man: Across the Spider-Verse. However, these exceptions thrive because they offer stories or concepts that genuinely resonate with viewers, rather than relying solely on the franchise name. The data makes it clear: people are fatigued by stale franchises like Fast & Furious that no longer make financial or creative sense. Unfortunately, studios, as Brad Bird rightly pointed out, are like sharks - they refuse to evolve and learn.

Audiences Want New Stories and Characters...Even Among Adaptations

Moviegoers are not opposed to the idea of pre-existing properties being adapted into movies. However, popular characters like Dominic Toretto, Indiana Jones, and superheroes, which have dominated blockbuster entertainment in the past two decades, have lost their appeal. What today's cinema audience desires is to experience movies based on properties that have not previously been adapted for the big screen. For example, Five Nights at Freddy's became a huge success not because it promised endless sequels, but because it introduced a fresh universe that had never been explored in film. Audiences have already seen numerous versions of Michael Myers and The Mummy, but Freddy Fazbear offers a new and uncharted territory.

Similarly, the 2023 adaptation of Barbie was unique as it brought the beloved dolls to life in a theatrical live-action format, something that had never been done before. The marketing strategy for Barbie did not rely on hints of a larger cinematic universe or recycled jokes from previous movies. Instead, it presented a visually distinct and complex atmosphere that was entirely original. People were thrilled to see Barbie, Ken, and Allan on the big screen, but what truly excited them was the refreshing and innovative approach taken in this summer blockbuster. Audiences were drawn to Freddy's and Barbie because these adaptations catered to the preferences of a new generation of moviegoers, rather than simply pandering to nostalgic audiences of the past.

Instead of running Five Nights at Freddy's and Barbie into the ground, Hollywood should seize the opportunity to explore concepts that resonate with young moviegoers. These sleeper hits could inspire original films, offering a fresh and unexpected success like Pretty Woman, Knives Out, or My Big Fat Greek Wedding did for previous generations. There is a clear appetite among new film lovers to see something they have never seen before on the big screen. This desire has even been evident in the turbulent era of COVID-19, as shown by Everything Everywhere All at Once outperforming Morbius in 2022 or The Northman surpassing Snake Eyes. However, the flawed systems governing Hollywood and the decision-makers at major studios have rarely satisfied this appetite. Rather than encouraging risk-taking on new concepts, successful original ideas often lead to endless sequels in creatively bankrupt institutions. Movies full of franchises, remakes, and sequels dominate theaters, giving the impression that audiences only want familiar content. However, the attention showered on recent original films like The Woman King, The Lost City, and Elemental is an exciting indication that viewers crave fresh concepts. They are not just looking for another Fast & Furious installment; they want something new, even in adaptations of existing properties. The hunger for innovative silver screen experiences is out there, but it remains doubtful that studios will be able to meet this demand without prioritizing a shift in their approach.

Editor's P/S

As an enthusiastic fan, I have mixed feelings about the rise of independent businesses challenging the franchise model. On the one hand, I understand the appeal of independent businesses. They often offer unique and innovative products and services that can't be found elsewhere. They also tend to be more responsive to customer needs and feedback. On the other hand, I also appreciate the convenience and reliability of franchises. They offer a consistent experience and are often more affordable than independent businesses.

Ultimately, I believe that the rise of independent businesses is a positive development for consumers. It gives us more choices and options, and it helps to keep the market competitive. I hope that in the future, we will see even more independent businesses emerge and challenge the status quo.