In the ever-evolving world of Hollywood, the language used to describe movies has become a fascinating battleground. The industry's reliance on familiar concepts and characters has led to a unique challenge for marketing executives: how to describe a film that is essentially a continuation or variation of a previous work without using terms like "sequel" or "reboot" that might turn off audiences.
This linguistic dance is a response to a growing audience fatigue with Hollywood's penchant for revisiting and recycling. As one executive put it, "sequel" has become synonymous with "homework" - a chore rather than an exciting new adventure.
So, studios are getting creative with their terminology. Take Sony's upcoming "The Social Reckoning", a film that is very much a sequel to their Oscar-winning "The Social Network", but is being marketed as a "companion piece". It's a clever move, acknowledging the connection while also suggesting a fresh take on the story.
Disney, too, has embraced the "reimagining" label for their live-action adaptations of animated classics like "Aladdin" and "Beauty and the Beast". It's a way to suggest a new perspective on a beloved story, a chance to see something familiar through a different lens.
However, this linguistic creativity isn't always successful. Lionsgate's attempt to distance their Ana de Armas-led "Ballerina" from the "John Wick" franchise by removing any association with the original ultimately failed, leading to a clunky addendum to the title.
On the other hand, Amazon MGM has embraced the sequel label for their follow-up to "Spaceballs", playfully titling it "Spaceballs: The New One". It's a tongue-in-cheek acknowledgment of the franchise while also suggesting a fresh take.
The aversion to certain words like "reboot" and "remake" stems from a desire to appear innovative and avoid the perception of laziness. Studios want to attract audiences with brand awareness, but also want to showcase their artistic ambitions and the unique directions they're taking familiar stories.
A recent study by the National Research Group found that Gen Z audiences, now the most active group of cinemagoers, prefer original content over remakes. This has led to a greater focus on creative risks and a need to appeal to a more cynical, younger audience.
Paramount's approach to the "Top Gun" sequel, titling it "Top Gun: Maverick" rather than "Top Gun 2", is a perfect example of this strategy. It's a way to attract both fans of the original and new, younger audiences who might not be familiar with the franchise.
While the use of numbers in titles seems to be on the decline, there are still instances where it's necessary, especially for well-established franchises. Disney's "Toy Story 5" or "The Devil Wears Prada 2" are clear examples of this.
As one executive put it, it's a tricky balance. Audiences want familiarity, but they also crave the feeling of discovering something new. It's a delicate dance, and one that Hollywood will continue to navigate as it strives to keep audiences engaged and excited.
