Reboots, remakes, and sequels routinely dominate the box office, attracting fans eager to see the evolution of their favourite characters and new interpretations of beloved tales. But how can filmmakers prevent the onset of blockbuster fatigue while mobilising fans to rewrite past wrongs?
Jack King is a culture journalist for British GQ, Vulture, the BBC, The Face, Inverse, The Guardian, and more. His focus is on film, television, and all things moving image, with a particular interest in queer cinema. Commercial clients have included the likes of CIRCA and the BFI.
Hanna Flint is a London-based critic, journalist, and host covering film and culture for nearly a decade. Her reviews, interviews, and features have appeared in Empire, The Guardian, Elle US, British GQ, BFI, Sight & Sound, Front Row, Radio Times, BBC Culture, and other publications. She is a host at MTV Movies, co-host of the weekly film review podcast Fade to Black, co-creator of The First Film Club event series and podcast, and member of London's Critics Circle. She is a voice for gender equality, diversity, and inclusion in the entertainment industry and an advocate for MENA representation as a writer of Tunisian heritage.
Marianne Eloise is a journalist and commentator on neurodivergent issues. She has written for publications including The Cut, The New York Times, Courier, Dazed, Vulture, i-D, The Guardian, and Mic.
The COVID-19 pandemic has threatened physical and mental health while fuelling economic and political instability. To escape this chaos, many people have sought comfort in nostalgic TV shows and films – but do they only want reruns? Can reboots of old favourites offer the same sense of escape?
Netflix has acquired the creative estate of author Roald Dahl in a company record of $500 million, opening up a treasure trove of multi-platform content. With films, TV shows, plays, musicals, and video games all in the pipeline, the acquisition speaks to an increasing demand for nostalgia media.
There’s been a push for better LGBTQ representation across media and Disney Junior is making an effort to depict gender expansiveness to viewers at a young age. Its childrens show Muppet Babies has released an episode that highlights one character who identifies as non-binary.
The representation of ethnic minorities in the media may have improved over the past half-century, but accusations of tokenism and biased coverage remain prevalent. With broadcasters and publishers often shaping cultural agendas, how can they meet their audiences’ expectations for diversity?