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Death to All Sequels?

Have you seen Zoolander 2? Do you know anyone who has?

Obviously, I can’t answer those questions for you. However, according to the box office totals it’s more  likely that you’re one of the many who have decided to skip Zoolander 2 as opposed to one of the few who just couldn’t resist seeing Ben Stiller flash blue steel one more time.

Only in its third week of release, Zoolander 2 has already dropped out of the box office top 10, and this past weekend it lost over 1,000 theaters to newer releases. It’s now looking up at a domestic gross of $27 million compared to a production budget believed to be around $50 million, pretty much an inverse of the first Zoolander since it grossed $45 million off of a $28 million production budget in 2001.

On its own, this is not a big deal. Zoolander was only ever a cult classic, and its sequel took 15 years to arrive. History hasn’t been kind to movie franchises which take such extended breaks in-between installments. However, Zoolander 2 is part of a new trend which has Hollywood concerned: the underperforming sequel.

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Moe the Bartender as Disney/LucasFims

Well, sure, there are exceptions…

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Universal Studio’s money machine

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Radioactive Man and Fall Out Boy as the Avengers

11131601198413Oh, come on, enough with The Simpsons memes already!

Of course, sequels and comic book movies are here to stay. However, after Zoolander 2 flopped like [cue the lazy fashion industry pun in 3, 2…] a particularly emaciated fashion model tumbling over the side of the catwalk Vanity Fair looked back at the recent year and observed the diminishing returns for sequels:

Exhibit A: The Hunger Games: Mockingjay—Part 2 is the lowest-grossing title in Jennifer Lawrence’s four-film franchise; Ted 2 made only $81 million versus Ted’s $218 million blockbuster breakout; The Divergent Series: Insurgent earned $20 million less domestically than 2014’s Divergent; Magic Mike XXL made about half the financial haul of Magic Mike in the U.S.; Ride Along 2 has thus far netted $84 million in receipts versus the original’s $134 million take; The Maze Runner: The Scorch Trials grossed $36 million less worldwide than The Maze Runner; Spectre came up more than $200 million short of 2012’s previous Bond installment, Skyfall; and then there’s Terminator: Genisys and this ignoble stat: 1991’s Terminator 2: Judgement Day sold four times as many tickets, when accounting for inflation.

They could have also thrown in Kung Fu Panda 3 and Alvin and the Chipmunks: The Road Chip. As of this writing, they’re both the lowest-grossing entries in their respective franchises, although Panda 3 will eventually eclipse Panda 2.

The anonymous Hollywood insiders and box office experts interviewed by Vanity Fair said things like:

“It’s harder to open a sequel than an original film these days. I think audiences want fresh. These days, when people hear about a sequel, they’re like, ‘I’ll just watch that on a plane or wait for Netflix.’ The excitement level isn’t what it used to be.”” – Anonymous High-Ranking Studio Boss

“We’ve gotten to the point where you can’t fool anyone anymore. Social media, early trailer breaks, and TV spots spotlight all of a film’s weaknesses. That and the trend of showing an entire film in the trailer. The public just turns off early to what’s an inherently jaded remake attempt. I mean, how the hell did Anchorman 2 and Zoolander 2 get made?” – Anonymous Veteran Marketing Executive

“The Terminator franchise does not seem to have been taken good care of. The [2009] reboot with Christian Bale didn’t take. Then they decided to go off again and bring back Arnold Schwarzenegger; it was difficult for audiences to keep up with so many different versions of the same product. The Amazing Spider-Man was mirroring an origin story told in the earlier Spider-Man films. And The Hunger Games: Mockingjay movies maybe didn’t have the staying power that Harry Potter did.”Daniel Loría, managing editor at BoxOffice Media, taking a more measured approach to the topic

I am assuming the anonymous studio boss who claimed sequels are now harder to launch than original films actually hails from an alternate universe, and Vanity Fair simply failed to notice his suspicious goatee:

Spock_(mirror)Because that logic flies in the face of so many prevailing trends in pop culture. We’re busier than ever. There are more movies, TV shows, internet shows and video games than ever before. Ergo, you cut through the clutter with franchise reboots/revivals, sequels and adaptations. You can’t be picky either. MacGyver, Baywatch and Full House weren’t great TV shows, but we already have Fuller House on Netflix and there are big-budget movie versions of MacGyver and Baywatch on the way. In the age of too much, familiarity reigns, and while some things are ultimately rejected (Genisys, Fantastic Four) plenty of others are embraced (Fury Road, Star Wars).

Still, does the anonymous studio boss from the mirror universe have a point? Has Hollywood gone so overboard with franchise reboots/revivals, sequels and adaptations that we’re all becoming jaded about it? Maybe. However, 2015 was the highest-grossing year in box office history (if you ignore the sticky “but not if you adjust for ticket price inflation” thing), and it was largely thanks to a bunch of huge sequels (plus Inside Out, The Martian and Cinderella):

2015 MoviesAs The Guardian said, “That all points to a greater reliance on high-profile franchises, more likely to generate returns on the hefty investments required to make blockbuster movies.”

So what if some sequels failed to match their predecessors? That’s actually how it always used to be; a “part 2” rarely outgrossed or matched a “part 1.” You just kept making them until they ceased being profitable, with the audience naturally winnowing down over time, and the law of diminishing returns was understood. However, that was back when Hollywood studios had more diversified slates of movies per year, throwing dramas and comedies at us just as often as action movies and franchise sequels.

At the moment, many of the studios are at a crossroads. Disney is going big (all tentpoles all the time) or going home while Warner Bros. and Universal are exploring more diversified schedules not entirely dependent on tentpoles. As Forbes pointed out earlier today, beyond its 2 DC movies (Batman v Superman, Suicide Squad) and desperate Harry Potter prequel (Fantastic Beasts…) WB is releasing 17 other movies this year, and a lot of them are actually original, non-sequels/adaptations. That should theoretically shield them from the threat of the underperforming sequel, but since those are the biggest movies they’re the ones which receive more attention from the press and Wall Street.

Each major studio’s breadwinner is still going to be movies which come with built-in audiences. As such, the recent run of disappointing returns for sequels clearly has some worrying, “Oh, no. What if audiences are on to us? Making these kinds of movies has kind of been our only move for a decade. What do we do now?”

Um, just make good movies, sequel or not. Duh. It’s just that easy, right?

Right?

Source: Vanity Fair

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About Kelly Konda (1854 Articles)
Grew up obsessing over movies and TV shows. Worked in a video store. Minored in film at college because my college didn't offer a film major. Worked in academia for a while. Have been freelance writing and running this blog since 2013.

3 Comments on Death to All Sequels?

  1. I know someone who went to Zoolander 2. She wasn’t impressed. I also know another person who asked my team to go with her – I would have gone except I saw the review (she ended up being too tired after a funeral to go).

    The negative reviews for Zoolander 2 came out faster than the film.

    The bad reviews for Terminator Genysis were also fast.

    “We’ve gotten to the point where you can’t fool anyone anymore. Social media, early trailer breaks, and TV spots spotlight all of a film’s weaknesses.”

    It’s strange that he says that. The impact of social media is one thing but ever since mobile phones were able to text, the ability to spread a warning that a film is awful has become faster – social media just makes it faster than emailing someone. It’s interesting because all of those things he says, except social media, are things entirely controlled by the studio. Some idiot chose to cram spoilers or the idiotic bus flip into trailers of T5 – not the consumer.

  2. I don’t even know Zoolander 1. As a general rule, though, comedy sequels nearly never work.

    I think it always depends on the property. Ie Pixar will release Finding Dory, Toy Story 4 and The Incredibles 2 in the upcoming years. There is only one movie I am excited about, and that is The Incredibles 2. But that is the one movie I ever felt would work as a franchise (that’s what it comes down to in the end, not sequels, but franchises).

    It also depends on the view of the Studio. For the longest times sequels were a way to get a quick buck with next to no effort. Just slap together a script and release it as fast as possible, there will be enough people who give it a shot. Than Harry Potter came along and each instalment made more than the previous. Suddenly studios realized that if they actually put some effort into the sequels, they not only could make even more money, they could make a ton of money. At the same time, it has become more difficult to get away with a bad sequel because word of mouth will kill a movie faster when it is a property in which people are interested.

  3. Instantly forgettable but inoffensive fluff… you know, for kids. And ‘inoffensive’ is better than can be said for many movies aimed at children.

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