Betting the Kingdom on Chapter One
In modern Hollywood, the ultimate prize is no longer a single, profitable hit. The real dream is a multi-billion dollar, decade-spanning machine like the Marvel Cinematic Universe. Studio executives see their jobs as minimizing risk, and movies based
on established, proven properties are seen as less of a gamble. This thinking leads to the 'cinematic universe' model, a strategy to not just create sequels but to link seemingly standalone pictures, allowing for endless crossovers, spin-offs, and merchandising opportunities. The financial allure is intoxicating: a guaranteed slate of films, built-in audiences, and long-term brand partnerships. As a result, studios are willing to bet hundreds of millions on a single film, not just for its own box office, but for the promise of nine more just like it.
The Story Suffers When the Sequel Is The Point
The most immediate victim of the 'franchise starter' mandate is the story itself. When a film's primary job is to set up future installments, it often fails at its most basic task: telling a complete, satisfying narrative. Instead of a tight three-act structure, audiences get a 130-minute prologue. Characters are introduced not because they serve the current plot, but because they'll be important in a sequel that may never get made. Plot threads are left dangling intentionally, not to create intriguing mystery, but as blatant homework for the next film. This approach, which prioritizes world-building over storytelling, often leads to bloated, unfocused movies that feel more like a series of trailers than a cohesive film. It’s a creative decision that disrespects the audience’s investment in the here and now.
When Potential Becomes Poison
Once a movie is labeled a 'franchise starter,' its measure of success changes dramatically. The conversation shifts from, “Was it a good movie?” to “Does it have franchise potential?” This creates an impossible pass/fail binary where a film isn't allowed to be a modest, standalone success. It’s either a universe-launching smash or a catastrophic failure. This pressure warps the public discourse around the film, as box office tracking and opening weekend numbers become the only metrics that seem to matter. A film that is merely 'good' can be branded a flop by its second weekend if it doesn't also guarantee a sprawling cinematic dynasty. This has been seen with recent disappointments like Supergirl and The Mandalorian and Grogu, which buckled under the weight of enormous expectations.
The Graveyard of Failed Universes
For every successful cinematic universe, there is a graveyard of those that failed to launch. Universal’s “Dark Universe,” which was meant to kick off with 2017's The Mummy, famously imploded on arrival. Other would-be sagas like Eragon, The Green Lantern, and John Carter are now cautionary tales about studio hubris. These failures are uniquely spectacular because they don't just represent the loss of one film's budget; they represent the collapse of an entire multi-year business plan. The money, time, and talent poured into mapping out sequels and spin-offs vanishes overnight. These ambitious projects serve as expensive reminders that audiences can smell when a film is more concerned with its own future than with providing a quality experience today.
