The Superhero Saturation Problem

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In an attempt to generate interest for “The Falcon as Captain America” chapter in “The Marvel Chronicles Volume XXXV”, Disney has revealed that the movie ranks as the 31st highest-grossing film in their extensive collection.

This is pathetic.

Amazing! The account “@Updates4Marvel” is praising the latest Marvel Cinematic Universe film for surpassing “Black Widow” in earnings, an impressive milestone since “Black Widow” was the first (and currently only) Marvel movie to simultaneously debut in cinemas and on streaming platforms. Quite a remarkable achievement!

— ebaster.ru (@BleedingFool) March 17, 2025

It’s concerning that viewership for Daredevil seems to be low on Disney+, especially when the recent release Agatha All Along isn’t meeting expectations. This suggests some significant issues with marketing and promotion.

It’s Not The Nineties Anymore

One fundamental problem with the current superhero movie business is that they seem to have lost sight of their original purpose. Superhero films initially thrived because they satisfied a long-cherished audience dream – seeing beloved childhood figures brought to life on the big screen. While comic books may have originated from a niche culture, by the time shows like Super Friends and cartoons based on characters such as Superman, Batman, Spider-Man, and Wonder Woman were common, the concept had become quite mainstream.

To start off, the early Superman movies were financially successful and paved the way for similar productions. The 1989 Batman film was an extravagant production that created quite a buzz, boasting an impressive cast, two soundtrack albums, and spawning several sequels (varying in quality) as well as the X-Men. Meanwhile, lesser-known films like The Crow and Blade were gaining popularity. Sam Raimi, who later directed Spider-Man, honed his skills on Darkman, a cult classic where you can see some of his future stylistic elements emerging.

Making a movie adaptation marked the pinnacle of the creative journey, symbolizing success and achievement for a character. This played a significant role in making the ’90s so cool.

Disney has transformed it into an automated production line, continually producing products drawn from Marvel’s vast archive. Instead of excitement about heroes appearing on screen, there is only apprehension over what Disney might do to the mythos. The DC Universe seems to be stuck in a rut and desperately trying to escape, but few seem concerned. Regrettably, we’ve been in this situation before.

The Great Space Glut

People of a particular age group can remember the massive impact that the release of Star Wars in 1977 had on them. This film became an unprecedented hit, revolutionizing Hollywood’s approach to science fiction and space fantasy. Unlike earlier attempts which were often dull, theoretical, and frequently gloomy, this movie offered a vibrant, optimistic experience, even spawning a profitable range of merchandise.

Amidst a whirlwind of action, we delved into every hidden script related to space exploration, recording them all. It was under this intense atmosphere that peculiar productions such as “The Black Hole“, “Battle Beyond the Stars“, and “Flash Gordon>” emerged, along with immediate classics like “Alien>”. “Battlestar Galactica” was a television sensation until it was strategically countered. The popularity of “Star Trek” skyrocketed, allowing for the long-awaited movie to be produced and a new TV series to continue the storyline.

What’s important to understand is that this particular trend or spirit, similar to what we’re experiencing now, has come and gone before. Fast forward six years, and Star Wars took a break, while Star Trek started waning in popularity. Instead, action films seized the spotlight on movie screens.

For some reason, Disney cannot recognize that the comic book moment has passed. The magic is gone.

Is there still a place for superhero stories in movies and TV shows? Absolutely, but it needs to be something unique and special. It can’t just be another series that continues indefinitely without any end or climax. Currently, the launch of a new Disney Marvel project doesn’t generate as much excitement as the delivery of eggs at a local supermarket. To explain further, the James Bond franchise has been around for 59 years and produced 25 films; Disney managed to surpass this in just one-third of that time. (Please note that this total does not include independent productions like Never Say Never Again and the 1967 Casino Royale.)

The Death of Storytelling

The assembly line method often curtails the art of storytelling, as films that didn’t anticipate sequels had to be incredibly efficient. For instance, in the case of “Batman ’89”, the narrative was already underway, opting for flashbacks instead of lengthy and heavy expositions. Similarly, “Superman ’78” maintained a swift pace.

Compare this to Madame Web, an introduction for a movie that sadly won’t be produced (and unfortunately utilized Sydney Sweeney’s most impressive talents in an unproductive manner during production).

If each movie is presumed to be followed by another, there’s no rush in the production process. This has led to an increase in films that consist solely of backstory, effectively serving as a two-hour prequel to a future three-hour film intended to drive the plot forward. Even streaming shows can drag on at a snail’s pace, filling time to boost download minutes. Agatha All Along, for instance, might have been a tolerable 90-minute direct-to-video film, but as a series it was unbearable.

Additionally, none of these movies carry significant consequences for characters’ fates since a new sequel or reboot often follows when a character appears to meet their end.

Consequently, this mix includes an overwhelming abundance, slow-moving tempo, and narratives devoid of any significant emotional weight or impact.

Enough already. Give it a rest. Can we go back to vampires? That was fun.

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2025-03-24 21:00