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How did we get to the point where remakes and sequels and all sorts of iterations on existing franchises have become such an incredible percentage of all the entertainment created because I know that they've already existed, but this is twenty-seven seventeen top worldwide grosses at the box office Star Wars, the last Jedi beauty and the beast. The fate of the furious, which is sequel number seventy eight despicable me three Jumanji. Welcome to the jungle that is a sequel Spiderman homecoming, which is either a sequel or reboot it's both depending on depending on which way you want to look at it wolf warrior to number eight guardians of the galaxy volume two shirt number nine Thor ragnarok, number ten wonder woman. Yeah, that's global. That's the top ten movies all of them, a sequel or a reboot or in some cases both. So how did it become what changed in the industry that made this the predominant model rather than just like something that Disney might do every once in a while? There's a Cup. Of arguments. The the first argument is that it is more appealing to a studio to produce an existing property. A new version or sequel to something that people already know because it's easier to sell there's less resistance on every level. It's a thing. If you already know the thing, you're more likely to be interested in the thing. The other argument is that the mid range movie has disappeared which is where you used to see many more original concepts and they're either turning on Netflix now like new films from Nicole hall of center Tamara Jenkins, or what is the mid range movie. It would have been made for somewhere between it used to be twenty to sixty million. Now, it's five to twenty. It would have been a smallish film, usually a character study or historical drama that doesn't have battle scenes is about people in rooms or people in, you know, houses having lives and doing things that don't involve capes or murder and the mid range movie even those of mutated into stuff like bird box. The netflix. Which is opposed to puck elliptic thing. With Sandra Bullock walking through a forest. Blindfolded? Arrival would have been amid range movie actually seem screenwriter. Eric Heiser arrival would have been a mid range movie. But instead, it was a massive studio words contender because of what it turned out to be. But I think when they started it out it was going to be a smaller more intimate project. So those films don't get made anymore because twenty million dollars into a movie will get you maybe sixty or eighty this is the old thinking, and so now if you make a guard Guanzhou in thing that costs a hundred and fifty million unless it tanks so spectacularly that. You know, the studio dies it'll probably pull in half a billion to a billion dollars. Right. It doesn't have to be good. But it has to be safer. Bet has to be recognizable. Exactly. So that's part of it. The hangover was a tiny little movie that then became a monster franchise because it was hit. So they made two more. Now, what am I seeing tooth? Who's maybe is a call or something? And in the olden days, they would have stopped after one. He would have just said, oh, that's really cool. This thing made three hundred million dollars for a everybody likes it. Let's go to the next contest. Do another comedy. Exactly. Let's lunch. Something else. When Bradley Cooper was here. Like six months before he was here for another original project that Jim Carey movie called yes-men, the tanked, and he said like it was insane that that Warner was giving this movie two three completely untested. Like, Bradley Cooper, never had a hit and homes and never had a hit. Nobody news at Calvin. Acas was set a couple of comedy cycles or comedy circles in journalists, and they risk that money on this little movie, which couldn't have cost that much, and it was a massive hit. And then they made two more, and they'll probably reboot it in five years with with. I would assume women because that might be interesting. There have been attempts to do a women's version of the hangover bridesmaids is great rough night. There's a few of those the idea of people behaving badly friend circles getting out of control, they'll they'll reboot the hangover in five years. They'll prob. Rebooted with women because that's a smart move because otherwise you have to. I mean, the the gender thing really helps because you create a new universe that doesn't depend on the demands of the original film, you you can bring, you know, most remakes are very very rooted in the expectations of the audience, right because we all wanna be pandered to we own to see the thing that we liked again. That's the governing principle of entertainment. Now, give me more of the thing. I like I understand exactly why the studios do it. When you lay it out that way on the economics and play why do we consume it? Why is our bar? So low nail it doesn't feel like it was always this way. Well, it probably was we just didn't know it. The the difference is that now instead of knockoffs which used to happen. You know, if there was a smoking abandoned, there'd be ten car movies the next year. If there was rocky there'd be five boxing movies, the next year or or sports movies or a wave of underdogs. Portsmouth is actually what did happen stuff like breaking away. And so on now, we just make more Rockies. Yeah. We we really have another one right now creed to is rocky eight. Away that creed was not rocky seven, which is kind of disappointing. And no one can articulate it. Exactly. But the the answer is it's because it's because creed was the only one that Silvester still didn't right. And he didn't script it. It was somebody else's project. He was used beautifully in it. But when Ryan Kugler wasn't available to come back to Crete to Stallone jumped in and wrote it, and it's a rocky movie now, and I think people should be more disappointed by that than they are. That's the crux of why we want to have this. But they're not conversation because they're not an I made fun of when you said at the beginning of this podcast that there would be another Harry Potter, and who would be cast as another Harry Potter. I will watch that Harry Potter movie or it'll probably actually be a TV show. So that they can do it. Yeah. For Justice over eight years and eight seasons, and whatever God, you could go to school with them in real time home, that's a horrible idea. I would watch. So I I agree that it's a bad idea. But I will consume that content. Why it's because you want to see your idea of what it should be validated. And in the end, we find out that it doesn't matter. If it isn't because nobody can imagine. Everybody's complaining about what a movie isn't. And what it shouldn't be. I mean, that's my job is to say actually this. But I hope that I'm coming at it from a perspective of history, and a sense of you know, why you can make this movie why this movie fails or why this movie's succeeds, and how this argument could be applied to other movies and similar genres. I basically, I I'm there to provide context for why you did or didn't like something. I guess, but as far as the reboot thing goes again, it's safer because the curiosity factor has it clipped everything else people want to know, they want to see what the new superman looks like they want to know what the new joker like Joaquin Phoenix is the joker. But Jared Lido is the joker. Well, that's what happens ledger. Yeah joke. They'll Cesar Romero is the joker or Jack Nicholson as the joker. That's the. That's the point. Right. Like my engagement with the stuff is always. Oh, that's interesting or. Yeah. I've seen that. There's like it's a binary. There's no middle ground. There is no mildly successful remake it either works or it doesn't. And it's because we know what it's supposed to look like is because we've been trained by our own lives to want. This thing the way it was supposed to want to watch new stuff. Oh god. Yes. That's all. I want. I crave it, please. Give me some. But why does so many people? Why would so many people prefer to watch a sequel to something that they already know part of it is that you don't have to invest as much. You already have the backstory you don't need to introduce new things. Or if you do you have to do it in a certain way, fix it feel comfortable Spiderman homecoming is an excellent example of that they turned it into an eighties movie. Yeah. Which makes it simultaneously nostalgic of new in a way that this character doesn't need to be. But it works. It's comforting. And you feel the the youth of the character is because he's never been a kid before Spiderman being in high school before in the movies, but he's a child and Tom Holland's performance. I mean, the the actors in his twenties, but he looks like a kid, and you can root for him that way, and it makes it feel new and by having Tony stark introduce him to the two by having Tony stark introduced into the marvel universe in civil war. It was like extending a hand to the franchise and bring it on. And the fact that I know all of this is nuts because it's a two hour movie. And I shouldn't bring all of this stuff with me to this film. But it's not a reboot. It is the what eighteenth chapter in films. That's been going on for a decade. It's part of a huge thing where we are now culturally. Right. It's not just social media and the internet, although that's a huge part of it is part of the it builds expectation, but it's also the fact that this story has been ongoing, and if you missed one you can probably catch up it's not a big deal unless you missed an adventures or captain America movie where all the characters are together you can dip in and out. But if you've been following it all along, it feels really good to know all this stuff. It feels like you're being accommodated in a way that a remake or a sequel or a franchise is supposed to do it. Doesn't bar new entry, but it rewards ongoing participation in the Harry Potter films did the same thing. I mean, they made one of those a year for eight years, right or the there. They started to stagger them apart after a while. Once it got complicated. They were releasing them every year and a half. I don't remember. But I do remember that I saw all of them. I didn't really like all of them. Did they didn't get good until the third one? And we're at a place now culturally where you can say that about a television show. Well, you have to watch the for six episodes. No, you don't you actually don't. But if you don't you'll miss it. And if everybody's talking about it, they and you want to see it. And if it's a thing that everybody talked about twenty years ago that that little tug is still there. So when fuller house comes back, which is okay. Comfort food at best. Right. It's a remake. It's a it's a new season of a show that people other show that they've brought back which is like there's a list of them. Yeah. Fuller houses. I for me. It's the best example because it's one of those things where when you hear about it. It sounds insane. Why would anyone care? And then you find out exactly how many people do care, which is why it exists, and whether they really wanna see it or just kind of curious about it that doesn't matter as long as they click on it for Netflix. The Netflix has made it worth their while. And we're going to get more of it. And we're going to get more of an and that Spurs the need to make more things come back. So there's a new charmed and there's a new. Do not on Netflix. But it's it's all part of the culture, if you can reboot a TV show, you can make millions of dollars right off the bat and the Handmaid's tale just got a built in audience through its TV show success. And now there's a book sequel Margaret Atwood is writing a Handmaid's tale sequel, which is one of the few things that I'm genuinely interested in because she won't be basing it on the TV series. That's the important part. It will it will still be set in her world. I mean, I don't need the answers to what happens in the Handmaid's tale. It's all in the first book, we know what we need to know about that book was a finished work. And you know, it is because it's been taught in schools for thirty years. Sure. It's a self contained narrative. And if there was one artist in Canada didn't need to follow the two reasons for producing sequels and remakes that you've just outlined, theoretically, it should be Margaret what she can do whatever she wants. She absolutely can. But I can also I can see the testament emerging as a response to the show, but that's me understanding the pull the remake. I would rather just think about it. Myself than have to watch it executed because the odds are won't be the thing that I wanted it to be when beauty and the beast, the stage version came to Toronto I got to go to a preview, and nobody told us that the thing was three hours long that it was a massive reconstruction of an eighty two minute movie. And when the first deviation came which is slightly longer dialogue scene between bell and her father. There was a kid. There was a child very must have been very unsettled up in the mezzanine who started saying, no, no, no, no, no. This isn't it and had to be shushed. And it's like, that's the brain. And that's everybody in these things, you really only want to see the thing you like, and you want more of it. But you don't that? I mean, the kid didn't they could be just wanna beauty, and the b you can give this opportunity this child who I mean, this would have been was after The Lion King. Right. So it was the mid to late ninety s and this childhood only been raised on this movie. That was only, you know at most ten years old, and he didn't want more wanted the same thing. And that's all of us. But we won't admit it. So we're still curious. We're kinda wanna go see what the new thing is if it's the old thing. And if it's not the old thing we want to know, how we can be comforted by whatever it is that we loved about the old thing, and it never occurs to people to just pull out the old thing and watch it again because those are everywhere, and that's that's my objection. And yet when Pete's dragon comes out, or when the Paddington movies come out, and they are beautiful perfect realizations of the spirit of the project, even though they are not the original thing than you do reconnect with the thing you loved about it. And I think it's also very telling that those are projects for children. Yeah. We're all children. Now, we want to be right. Like, isn't that the whole thing? The the lie of the the government is that you want a strong like what what's the argument? The Republicans are the strong father. And the Democrats are the are the nurturing mother, and you can only have one at a time. But we see what is strong father looks like, and it's horrible and we retreat can we want whatever

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