The cancelled release of the “The Interview” is connected to an entirely non-metaphorical totalitarianism, of course, and it’s significant on a much higher level than the business of cinematicĪrt. Properties, at “Aquaman” and “The Bourne Identity Five” and “Pirates of the Caribbean Whatever,” is to find oneself contemplating a kind of tentpole totalitarianism, a moviegoingįuture from which even the imagination will have no means of escape. Grimly detailed documents, two release schedules showing the five-year plans that the major studios have built for themselves out of superhero movies (above all) and then also “Star Wars” sequels and “Harry Potter” arcana and reboots of everything from “Jurassic Park” to “Max Max” to “The Terminator” to “Beverly Hills Cop.” And to stare at these extraordinary lists of movies pre-planned entertainment
Yesterday at Grantland, in a kind of harmonic convergence with Sony’s unprecedented cancellation of a major Christmas-season movie in response to pressure and threats from the North Korean-affiliated hackers who had already exposed various studio secrets, Mark Harris had an essay on the theme of Hollywood’s ongoing transformation from an industry invested in original storytelling and ad hoc experimentation, in which franchises and sequels exist to help “finance the rest of a studio’s lineup,” to a business in which “replication”Īnd “reliability” are everything, and “a studio’s lineup is brands and franchises, and that’s it.” Harris has made versions of this argument before, as have others - it’s not exactly news that Hollywood is increasingly enslaved to the “pre-sold” property - but in this case he’s put together two
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