Key Takeaways:
– Not every film series requires a universe like Marvel Cinematic Universe (MCU).
– The hostility of filmmakers to wait for audience demand and preference.
– There are continuing concerns over reliance on gimmicks, like popular literature characters in horror situations.
– The concept of a connected universe can put unnecessary pressure on viewers to understand past events.
– The need for standalone films and the danger of franchising prematurely.
As the film industry continues to evolve, one particular trend has become glaringly obvious: the push towards interconnected movie universes, similar to the highly successful Marvel Cinematic Universe (MCU). One striking example of this trend is the surprising path charted by Public Domain Horror Films and the emerging Poohniverse.
Exposed via Fathom Events, these films, otherwise likely to be overlooked, are receiving fleeting but substantial public attention. One of the noticeable projects presented recently was the horror-infused spin on classic characters, Winnie the Pooh: Blood and Honey 2.
**Introducing the Poohniverse**
Scott Chambers, the star and producer, and Rhys Frake-Waterfield, the writer and director, confidently sketched out their vision for what they affectionately term as the “Poohniverse”. This involves an imaginative blend of classic characters like Pooh, Bambi, and Peter Pan residing in the same universe, engaging in unexpected homicide, and bringing together the horror-inspired elements of characters in an Avengers fashion in Poohniverse: Monsters Assemble.
**The Concerning Aspect**
However, a problematic aspect of this approach is the presumptuousness of filmmakers in revealing their vision without waiting to gauge audience reception. Furthermore, the success of these films is uncertain due to their reliance on novelty factors that may potentially wane quickly. The satirical take on the MCU’s style of big reveals also adds to the perceived absurdity.
**The Limited Shelf Life of Gimmicks**
The general consensus is the concept of “classic literary characters killing people” may lose its appeal over time. The Poohniverse’s plan, unlike the expansive roadmap of MCU, only stretches till 2025. But even so, the optimism around producing such quirky films and anticipating audience engagement seems excessive.
**Connecting the Audience**
One of the attractive aspects of these films is their stand-alone entertainment value. Moviegoers can relish the on-screen madness without needing to catch up on any backstory or plot development. Establishing a connected universe, however, may put undue pressure on viewers to be conversant with past events to fully appreciate the storyline, which might not necessarily be the case.
**The Pressure of Franchising**
The issue is not exclusive to the Poohniverse; it’s merely the current example. Many film series face the danger of jumping the gun by franchising too soon without first assessing if there’s an audience demand for it. In aiming for a hit series, often the crucial aspect of audience anticipation for future editions is overlooked.
**In Conclusion: Balancing Standalone Movies and Universe**
A pertinent question arises from this analysis – does every film need a universe of sequels? Could we ever get back to the era of standalone movies? The MCU model, while rewarding, may not translate effectively to every franchise. The diversification of standalone films could contribute to a more balanced cinematic landscape. Feel free to share your thoughts and join the debate.
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