.alisonwillmore and chaneyj discuss whether Space Jam 2–style IP mining is a brief trend or something that could alter the entertainment timeline for good
Two critics weigh in on the IP apocalypse and what happens when the main unit of entertainment is not TV or film but corporate universe. Photo: Warner Bros.
Jen Chaney: Alison, I feel like we already reached that event horizon whenever people started to use the term “content” unironically. If Space Jam’s M.O. is to sell us on the Warner Bros. brand, it seems like the only ostensible brand being sold is “Warner Media: We Own the Rights to a Lot of Shit and We Want You to Interact With All of Our Shit, Oh and Also: We Want Your Kids to Get Started on That Early.
Back in 2018, our former colleague Abe Riesman wrote a piece about what he called “mash-up cinema,” pegged to the barrage of The Emoji Movie, Ralph Breaks the Internet, and Ready Player One, all of which sold themselves on the promise of bringing a bunch of familiar things together.
The fact that Evans’s arrival was more enriching for those who understood all the casting history behind the X-Men franchise speaks to another issue with the Marvel multiverse: its perpetuation of inside-joke-based entertainment. We’ve alluded to this a bit, but so many of the films-slash-shows we’ve discussed are examples of this, meaning that their entertainment value and creative vision is steeped largely in references to other works and Easter eggs.
Gaze upon the IP. Photo: Warner Bros. AW: Does Frankenstein Meets the Wolf Man with Lon Chaney Jr., Bela Lugosi, and the modest aims only to offer what is promised in the title count? Not that that movie can be separated from our current exploitable IP insanity. It was one of a scattering of monster crossovers that Universal Pictures dabbled with back in the 1940s in a precursor to the poor, doomed Dark Universe.
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