Pascal called for opening roles so that they can be cast by actors of different racial or gender identities than how the character was originally portrayed.
Pascal called for opening roles so that they can be cast by actors of different racial or gender identities than how the character was originally portrayed.
Seems to be just another defence from the void of creativity that is today’s Hollywood. Why not just tell good NEW stories from all cultures on earth? That is interesting. Not converting old and beloved stories to fit their false pandering - this is just another weird guilt trip to sell their lack of creative ideas.
Is it Hollywood’s lack of creativity or is the audience’s? There’s a reason all but 2 of the top 10 grossing films last year were remakes/sequels/reboots. Hollywood isn’t forcing anyone to see those movies, but those are the movies audiences consistently seem to choose.
While I love new stories and take time off work to see them every year at ViFF, in a culture where reboots reign supreme, we either change the moviegoing audience’s demands/tastes dramatically OR just as we allow new actors to take on some of those iconic roles to which we flock (like say, Batman, Captain Picard etc) we don’t restrict those actors to being the same ethnicity as the first actor was. One seems much more practical than the other.
Demanding that diversity only comes in new stories relegates diversity to the cultural scrap heap. While I wish we sought out new stories, for whatever reason, we want Marvel movie 732432 instead.
Yes this is also probably very true. the reboot of lion king made a billion and that says more about the audience than the filmmakers.
As a counterpoint, Hollywood and establishment media is losing relevance hourly. People are spending less time watching yet another remake/sequel/reboot, and they’re spending a lot more time watching completely original content on youtube, or having discussions on reddit (or lemmy), or playing video games.
The argument you’re making would have been more persuasive back when Hollywood had a virtual monopoly on creativity, but they’ve been eating their seed corn for so long it’s having major long-term effects on the creative industry in America.
Japan is an interesting example of another way media could be done. There’s a content pipeline in a lot of cases of webnovel to light novel to manga to anime to movie (and of course that’s not the only thing that exists in the country but I’m a weeb so shut up), and it’s having an outsized influence globally. The manga industry dwarfs the American comic book industry, and while there are remakes and sequels, it isn’t the majority of the media coming out.
In the west, we’ve also seen some examples of hits from other countries that weren’t based on anything else, such as squid game and parasyte out of Korea. There’s also been some successes such as M3gan which made over 10 times its production budget.
Then there’s stuff like indiegogo and patreon, where people are going out to directly fund indies because they’re so hungry for something different.
Is it though? Until the pandemic, almost every year was more successful than the previous year, with pretty much steady gains since 2000. (Domestic box office revenues were under 7.5 billion in 2000, and had climbed, pretty evenly, too 11.4 in 2019, a more than 50% increase in 20 years! A quite healthy growth rate!) Internationally, while I can’t find growth rates, International revenue as a share has been increasing and if domestic box office numbers are increasing then the total value of international revenue must be as well.
And, as much as we dislike it, Marvel, sequels and reboots are crushing it in the box office. Which just keeps growing.
I’d chalk this up mostly to how we disaggregate comics vs manga. Manga entities together sold some 1.31 trillion yen (a little over 9 billion) https://www.statista.com/statistics/1093754/japan-animation-industry-revenue-by-segment/ but that includes all sources, movies, merchandise etc. Whereas Marvel is all mixed up in its multi billion dollar movies (like Endgame, which earned almost a third of the entire Manga industry) comics, Disney + (which itself earns some 20 billion, obviously not all Marvel but not all NOT Marvel) etc. For a tiny country, that’s super impressive. But I wouldn’t call it the cultural behemoth that the MCU has become. (But may not remain!)
Sure, and I enjoyed M3gan but in terms of cultural success, it made almost 30 million less than the DC League of Super Pets and less than a fifth of the Doctor Strange movie.