The more I think about it, the better this deal is. Mark’s an idea generator, and it’s always a clear idea, and that’s certainly what works in today’s market, especially these Netflix shows. I’m pretty confident he can come up with something new that even someone who’s never watched a movie based on his material, or read one of his comics, will be able to appreciate. And us veterans, too. Right now we’re knee-deep in nostalgia, but it’s also a time for bold new stories, too. Mark has shown a propensity for both. He can make a single story look like both (Red Son).
I don’t think the Marvel Netflix shows are quite working the way Netflix want. Plus they’re really borrowed brands for Netflix. Something like Stranger Things is much more in line with what they want to produce in the future. To that end I suspect we’ll see lots of new stories over the next few years as perhaps the grip 80’s nostalgia has held over pop culture for the past 15 years or so finally loosens. Lots of old franchises effectively died at the box office this year, no longer the guaranteed payoff they once were. All studios will be trying to figure out what’s next for viewers.
A lot of the big hits at the box office this year were completely nostalgia-driven, stuff like Beauty and the Beast, and It. Familiar franchises have been failing, and failing to start, but the stuff that trades on deep memories with an already wide base, and movie-specific appeal, that stuff’s been gold. Blade Runner was a cult to begin with, and it looks like it’s going to stay one. But horror movies are perennial breakout favorites, and Stephen King has a good track record for scoring blockbusters. And Disney is still Disney.
He doesn’t really, his record is very mixed and Dark Tower bombed just a few weeks before IT was a massive hit. Probably not his fault as most of the bombs are crappy adaptations but he’s not a great guarantee of success. Even a massive critical hit like Shawshank did pretty poorly at the box office initially (then hit it big on TV and DVD).
The funny thing about Stranger Things is despite the setting it doesn’t lay the nostalgia on that thick. Yes it does for the movie homages but a lot of recent period shows wallow in the music and films or current events (let’s put on MTV, Cyndi Lauper is on, Reagan is on the news, and Indiana Jones at the cinema) but the first pop tune featured on the show is a 60s song. Pretty much all the rest of the cliches are absent.
The Ghostbusters cosplay stuff in the previews for the next season are a bit more on the nose but we’ll have to see if that’s the exception.
Everything delivered this year is a remake of an established franchise. That’s been the model for the last few years, it’s the safest way to gamble $200 million on making a movie. So there’s going to be some hits, that’s not the headline. This used to be a safe gamble - sequels to franchises had a 90% chance of making their money back again, whereas new properties only broke $100mil domestic 30% of the time. That’s why people get excited by a new hit like Deadpool or Kingsman - it’s like a new baby being born. A brand that lots and lots of companies can hijack.
It just feels like the blood has been drained from so many franchises now that have fueled the last 20 years. Something new has to come.
The key seems to be creating an “event.” If it seems like some inevitable, obligatory experience, audiences respond with apathy. And that’s kind of expected from someone with the sheer bulk of output like Stephen King. But he’s got so many outliers, he’s guaranteed to strike gold often enough. The Avengers movies created this model by making every entry more or less independent of each other, yet still interconnected. This model didn’t work with the Defenders Netflix franchise, since everyone knew the whole point was to produce something that was bound to disappoint, a small-budget Avengers, when the Avengers are still going strong at the movies.
The pity has been they never did ask somebody who really knew.
Now, maybe, they did.
The cool thing would be for the first Netflix project to be filled with Easter eggs, to make it clear that Millarworld really has been interconnected this whole time.
Nah, that’s the death knell.
Seed maybe one reference and then branch out. Gotta learn something from the “Dark Universe”.
I don’t think Easter eggs were the problem there. They were setting up massive sign posts, expecting something they hadn’t remotely earned.
Huck is one of the best of the bunch for a television show. I think elements from the others could also be expanded to shows.
I agree that Chrononauts as well as Superior seem much more cinematic, but to be honest, all Millarworld projects seem more like movies than television shows. Reborn has something of a Riverworld vibe though and as a premise, it certainly could be very good to support a series.
Movies or very small seasons.
None of that 13 episodes BS.
The latter would definitely be the best avenue for series-headed ones.
Easter eggs are fine. Personally I don’t care at all if they are there, Mark’s links between his works were always a bit of fun some fans took too seriously. They won’t harm anything though if they are just gags for the fans.
I swore I heard once that they were designed to exist in the same universe, even if it wasn’t explicit (no crossovers).
You did, Mark built in a little mythology were it all could fit, there are certain posters on walls and other things but it has never been the purpose of Millarworld. Just Easter eggs.
The narration at the end of Kick-Ass 2 suggests that a fair few of the books take place in the same universe, and Dave is walking out of the same screening of the Superior movie that Simon is at in issue 1 of that book.
That’s all I was talking about.
Lets see…Kick Ass is the primary universe. Superior, Huck, Nemesis and MPH all happen in that universe. Jupiters Legacy is a movie series in that universe. Wanted is the unknown criminal masterminds controlling that world. Kingsman are a secret society within that world. Empress is the origin of that Earth, set in the distant past. The Chrononauts are experimenting in this same world. Starlight and Duke are in that same space, unknown to everyone. The Supercrooks are a gang in that world too I think, and Bonnie from Reborn was in the same Earth as Kick Ass. American Jesus is this worlds President. The only title I think that’s not directly in this world is Jupiters.
I don’t think there’s many plans for crossovers of these titles to be honest. At one point there was a bit of a discussion about a Millarworld event, but Netflix are in control now and they’ll separate things in the most part. It doesn’t really help to have the Marvel or DC interconnected universes I think. Not now that the novelty has worn off. It’s mostly just fanboy service really.
A strong central series is all you really need in the long run.