Despicable Me was a new IP aimed at “today’s kids”, while stranger things is aimed at a young audience that cares no less about its pop-culture inspirations.
I don’t think the various Tik-Tok kids who showed up to theatrical screenings of Minions: The Rise of Gru wearing costumes was the difference between an $85 million Friday-Monday opening (tied with Despicable Me 3) and a $125 million Friday-Monday opening (similar to Minions). This online meme/call to action was successful because it targeted a movie that young participants wanted to see. Language may have been as much at play with #GentleMinions as it was with #MorbiusSweep. However, the participants already wanted to see the Minions following in theaters or had an occasional interest in a movie they expected to enjoy, which was pushed to “ticket sold” status by participating in that specific online game. Simply put, the public showed up in droves this weekend because Minions: The Rise of Gru looked very fun. Of course, that’s a vast simplification, isn’t it?
Despicable Me was a new franchise aimed at children, not their parents.
Why has he Minions: The Rise of Gru break a record for an Independence Day opening weekend? It is partly for the same reason that stranger things became the first Netflix release to significantly exceed 1.1 billion global hours watched in the first 28 days. The middle and high school teenagers who appeared in theaters this weekend would have been young children when Despicable Me opened in theaters in 2010, and the kids who stumbled upon stranger things are now six years older. At the time, Illumination Despicable Me was an original animated feature from an upstart studio (Illumination) aimed at kids of that time. It was not a reboot, revamp or relaunch of a formerly successful IP from past generations. This was a new kid-friendly IP for “kids of today” that spawned new star characters (Gru, Minions, etc.) and pop culture icons.
The universal version Despicable Me opened a week before Chris Nolan’s Creation, at the end of the days when the mere idea of a big-budget animated fantasy, whether from DreamWorks, Pixar or Blue Sky, was an almost automatic theatrical event. Despicable Me grossed $251 million domestically from $56 million on its debut and $543 million worldwide on a budget of $69 million. He was also a leggy, crowd-pleasing performer in theaters and at home. Despicable Me 2 was not the result of franchise plans or cinematic universe aspirations, but because moviegoers saw and loved the first film. Despicable Me 2 earned $368 million domestically in July 2013 from a $143 million holiday debut and $975 million worldwide on a $76 million budget, more than any other anime release ever made in the time. Minions grossed $1.1 billion in July 2015, while Despicable Me 3 earned $1 billion in July 2017.
Minions: The Rise of Gru was due to open in July 2020, five years later Minions and three years later Despicable Me 3. It has now been five years since the last respective installment. Absence made the heart grow fonder. Those young kids who grew up on the show aged teenagers, teenagers, and young adults who never stopped enjoying at least a little bit of the anarchic and relatively unsentimental antics of the mad scientist and his henchmen. yellow-skinned freaks. It was, alongside DreamWorks Animation How to train your dragon (2010, 2014, and 2019), the definitive anime franchise of the 2010s. It was aimed at kids rather than nostalgic adults. In 2022, Minions is “always cool” in this semi-ironic Shrek fashion. It also serves as grim pre-Covid nostalgia for children who have spent much of their lives suffering from a Trump presidency and a global pandemic.
just rip off Point Break or Flash Gordon gets you The fast and the furious Where star wars.
Meanwhile, Netflix stranger things was a comparative underdog when he debuted in the summer of 2016. He wore his credentials and inspirations on his sleeve. Still, the ’80s supernatural thriller created by the Duffer brothers was an original story with new characters who, through the series’ relative quality and appeal to kids totally unaware of the references, became characters of their own. fame. Audiences who watched the fourth season didn’t care so much for pop culture homages or needle drops. They wanted to see what happened next to Eleven, Steve, Nancy, Max, Mike, June (Winona Ryder in a slick cast) and Hopper. children who loved star wars didn’t know or care about John Ford westerns, Flash Gordon Akira Kurosawa’s soap operas or actioners. stranger things became a huge hit with kids who lack Pavlovian responses to ’80s pop culture callbacks. It’s a defining triumph of “rip off, don’t redo.”
It stinks that the decade since The Amazing Spider-Man saw a total normalization of reboots. A 2007 movie like Disorders, who snatched rear window (alright, natch), is now downright a draw. Hollywood would now remake Rear Window (possibly as an eight-part, six-hour Peacock miniseries). This is partly because corporate consolidation has led to large corporations securing the rights to manufacture the genuine item. Amazon doesn’t need to make its own Robotcop (which itself was a resurrection fable by way of Spectrum) when they can simply reboot the existing IP owned by MGM. To be fair, Sony and Universal have shown with Jumanji: Welcome to the Jungle and jurassic world that you can make something old feel new again. However, when you’re just scamming Breaking pointyou obtain The fast and the furious and pop culture icons (Dom, Letty, Brian, Han, Hobbs, etc.) from this $6.6 billion franchise.
When you mix James Bond with Alan Quarterman, you get Indiana Jones. When you “scam” Fighting spirit with a modern sensibility, you get Insidious, which is currently developing its fifth installment. Does anyone remember the 2015 remakes of Fighting spirit Where Breaking point? The Child Play remake did its own thing alongside Don Mancini’s previous Chucky movies and the ongoing Syfy TV series. But it’s a one-and-done, like most remakes. Meanwhile, annabelle was a hit spin-off trilogy of evil doll coolers that helped push the conjuring Universe beyond 2 billion in the world. stranger things remains Netflix’s crowning achievement in global viewership and IP viability. It became such a hit that 80s properties and redesigns like This and Ghostbusters: Afterlife basically tried to rock his style. He didn’t invent 80s pop culture nostalgia (see also: The Wedding Singer and Super 8), but he probably perfected it.
Minions: The Rise of Gru and stranger things season four was generational crowning glory.
We dissected Pixar’s terrible performance Light year over the past three weeks, and I tend to say, “Oops, Solo: A Star Wars Story again!” and leave it at that, save for the consequences of its failure. The entire theatrical future of Disney’s animated films now hangs in the balance. We now face alt-right political actors proclaiming Light years failure linked to an online controversy over A) a homosexual kiss between two married grandmothers and B) Chris Evans replacing Tim Allen as Buzz Lightyear. Meanwhile, those same demos proclaim the triumph of Minions 2 as an “anti-revival” victory even though the Minions are genderless and sometimes dress in drag. The same people who sing Top Gun: Maverick to be a win for conservative entertainment would be the same ones pointing out that its multiple minority characters (including… gasp, a female pilot) made it fail.
Top Gun: Maverick and Transformers testify to the potential for nostalgia distorting adults. In parallel, Minions and stranger things are examples of “new franchises” for “today’s kids” successful enough to become iconic and shape pop culture, regardless of past homages, references, or inspirations. After years of delay caused by Covid, these new installments acted as generational crowning glory for the two respective franchises. Their reception celebrated the triumph of the (relatively) new amid a near-constant stream of refurbished, recycled, and relaunched aftermarket parts with a huge box office and audience partially driven by the demographics that contributed to their success. in the first place. The #GentleMinions meme and the crushing record stranger things Ratings are great examples of what can still happen when you create new kid-friendly entertainment for “today’s kids.” After all, you earn more money from the “first” Harry Potter than trying to discover “the next Harry Potter.”