The math just aint mathing…
Entertainment operates in cycles. Certain genres or sub-genres tend to ensnare the general public for a prolonged season and dominate the cultural zeitgeist. In Hollywood, the 1940’s-60’s were owned by the western. As westerns died off, sci-fi took the title. Today, we are clearly in the age of the superhero. Every studio, every network is producing their super powered script with the hopes of catching the right part of the wave and riding all the way to the bank. Unfortunately, the financial performance of these films and shows have been inconsistent compared to their earlier counterparts. Audiences have floated the term “superhero fatigue” citing an over-saturation of the market as the reason for declining interests. Has the proliferation of comic book properties really brought about the end of the era?
The “fatigue” is overstated. Yes, we are presently getting more vigilantes in spandex than we ever before believed possible. A decade ago, we were ready to rejoice that we got 2-3 comic book efforts per year. In 2025, between the small and big screen, Marvel and DC will release an average of 1 project per month. Let’s not forget non “Big Two” titles such as Invincible, which will be releasing its third season in 2025. The case for “too much of a good thing” is certainly easily made if sheer quantity is the only thing that is considered. However, a more tactful and honest look into the numbers and circumstances invites a more nuanced opinion.
Where "Fatigue" Begins...
Iron Man (2008) was the start of the Marvel Cinematic Universe and the state of superhero cinema as we know it today. Since 2008, there have been three major national/global changes that affect/ed the theatre business: COVID, inflation; streamers. Die-hard comic fans still want to be in the theater on release day, but what is the benefit for the casual audience member? They have to be more discerning about a dwindling disposable income in more germ aware environment, when they could just wait 45 days and watch in the comfort of their own home “for free”. Becoming “victims” of their own success, studios have helped create an environment where the theater experience is seemingly only for tentpole $200M+ block busters. Spectacle is needed. Somewhere along the line, story has seemingly suffered.
Marvel Studios takes the brunt of this conversation with the prolonged rollercoaster response to their film and television offerings, but DC is not immune with the way the DCEU sputtered to a close. The “post-Endgame” cinematic superhero era has spawned apparent apathy in audiences. However, the reality lies in the actual product.
Agatha All Along and The Penguin both had strong viewership and acclaim. Much of their success is chalked up to the personal nature of their stories. The spectacle was scaled back, the human conflict was dialed up. We were concerned not for generic caricatures in fantastic worlds, but complex people with challenges in a stylized world. Audiences felt connected with what they saw on screen. That is the only way forward.
Midnight Comics has the unique opportunity to always put the story first. As founders and writers, Lloyd and Natosha Jones do not have to rush any story out to meet any deadline but the ones they impose on themselves. They understand the importance of a strong narrative and making a genuine connection with their audience. This is not just a wave for Midnight Comics. The Jones’ have a passion for storytelling and positive Black representation that supersedes the current social entertainment touchstone. While detractor may continue to suggest that the superhero genre is dying, Lloyd and Natosha have built a universe and brand loyalty meant to withstand time.
Comments