Is ‘Finding Dory’ Part of Hollywood’s Sequel Problem?

finding dory sequel problem

Mark Harris via VultureThe Sequels of 2016 Aren’t About Storytelling; They’re Just Brand Extensions

I don’t consider “sequel” a slur. But it’s notable how much the impetus behind them has changed, and with it, their very nature.

This summer’s sequels are not, for the most part, story continuations but brand extensions. Some are good and some not; some have succeeded and some have flopped, but almost all of them are different beasts than the first generation of blockbuster genre sequels.

To my taste, the best reason to make a sequel is because the story demands it.

Overall, this is a great write-up by Harris that articulates a lot of the frustration I and many critics and fans have been having with sequels this year. He even champions Marvel’s Civil War as a good example of how sequels with grander narrative purpose make better impressions on audiences who’ve grown savvy to Hollywood’s sequel formula.

But I would disagree on one example he brings up briefly.

As for Finding Dory, it’s a solid brand refresher that will make a mint — an effective way for Disney to remonetize a dormant franchise. But nothing will convince me that Pixar’s move from being arguably the finest producer of original content in Hollywood to a sequel manufactory (next up: The Incredibles 2, Cars 3, Toy Story 4) is anything but dispiriting news.

I don’t disagree with Harris on this point at all, but I think Finding Dory is a wildly inappropriate example of his main point. Finding Dory is no Civil War in the sense that it exists in a larger universe of movies with a single narrative (or is it?), but that doesn’t mean it’s a bad sequel off of the definition Harris attributes above to movies like TMNT: Out of the Shadows and The Huntsman: Winter’s War.

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