What's Up With The Blockbuster Crossover?

Written by Andreas Babiolakis


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So F9 is in theatres, and there are rumblings that the Jurassic Park franchise, whose Jurassic World: Dominion is due next year, should team up with the Fast and the Furious story. Today’s insight will be quick and right to the point. Many movie goers want something like this to happen, and so I must ask: what is it with blockbuster crossovers that we love so much? Something like this year’s Godzilla vs. Kong doesn’t really count too much, since Warner Bros. has been setting this particular entry up for a number of years. We’ve seen a couple of instances of these before, particularly something as abysmal as Alien vs. Predator or Freddy vs. Jason, or something where the crossover event kind of just hangs out in the background, or to build upon worlds (Disney’s Ralph series, and Ready Player One).

Otherwise, the idea of a crossover has been something that has driven some audiences for ages; you can look as far back as various Abbott and Costello films, or monster pictures like Frankenstein Meets the Wolf Man (from 1943). Toss the idea of franchises into the picture, and you get this hankering for these blueprints to be turned into a reality. One of my all time favourite video games is anything from the Super Smash Bros. series, so I’m guilty as charged in some instances. However, I think in a fighting video game, there’s this self awareness at large: an acknowledgement of the scope of video game history (particularly within Nintendo, but the series has since expanded well outside of the company’s hub). What’s the deal with crossovers in cinema? Well, precisely the same thing. Virtually none of these kinds of films are meant to be taken with complete seriousness. We all know why the audience is there. There will be very little story involved. Let’s just see two worlds collide.

In the case of television series, crossover events were a great way to have audiences of one show tune in to another, usually within a network. Of course, the idea of a television crossover has become a rather stale one (refer to Mr. Peanutbutter’s constant reference of the tired trope in Bojack Horseman), but maybe one or two episodes just isn’t enough for this kind of obvious cash grab. No. A crossover has to be a main event. A double header (or more). Anyone paying to see a film of this nature isn’t expecting anything outside of a fun time. It can also be very easy to get carried away with fun, since these kinds of concepts open up for endless possibilities. Where do we stop? Well, copyright will make sure of that line, but otherwise, the sky can be the limit for these events.

You’ll also notice that you’ll never find people of other film circles asking for these kinds of projects. No one is asking for The Favourite to clash with Emma. for artistically inclined period piece works, or Being John Malkovich to merge with Mulholland Drive for some existential mind scramble. That’s totally okay. The crowds asking for these films love their escapes from the world, not having to be too provoked or challenged, and they just want to have a good time. So, is it wrong to keep thinking of new ways to have said good time? As much as these kinds of films really aren’t for me, I don’t think there’s anything wrong with catering to the exact fans that would adore this. So I don’t give two damns about any of the Fast and the Furious films, nor do I like any of the Jurassic Park works after the first film. This event was never meant for me. Film doesn’t always have to be art, push the limits of narrative, have strong acting, or cater to other reasons why I watch. If film is a form of escapism for people, then expanding their minds with hopes and dreams is a new form of escape. If studios can match that, despite the obvious intention to make money, that’s still something special (at least for those audiences). Who knows if a Fast & Furious Times at Jurassic Park feature is even doable, for the record. Let dreamers dream.

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Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.