The House of the Mouse is sitting on very shaky foundations after three of Disney's major subsidiaries released historically bad content in June, writes Nicholas Sheppard.
Last month, Disney managed the astonishing feat of all three of those subsidiary studios releasing, or about to release, bombing content - the Marvel series Secret Invasion holding the studio’s second lowest-ever TV rating; Pixar feature Elemental opening to a studio record-worst of USD$29.6 million , and Lucasfilm’s Indiana Jones and the Dial of Destiny becoming the worst-ever reviewed film in the franchise’ history.
And don’t forget Antman and the Wasp Quantumania sinking like a sunlight-averse stone in a Rings of Power analogy, The Little Mermaid crashing harder than cryptocurrency invested in the housing market and Pinocchio cratering like an extinction-level event asteroid.
In the wake of Avengers: Endgame the MCU has been underwhelming, the proliferation and indulgence with multiverses has made things existentially meaningless and allowed for contrived resets, the runtimes have become bloated, and the allure of Marvel as a studio in popular culture has dimmed. The Skrulls, the race of shape-shifting aliens, are posing as humans in an attempt to destabilise civilisation.Characterised by lethargic performances, unengaging fight sequences and huge swathes of exposition, it comes across as an oversimplified genre exercise.
What’s missing is the execution, the studio’s facility for establishing and developing a high-concept premise and lending it heart.Elemental is set in a world where the natural elements of earth, fire, water and air coexist in a metropolis evoking New York, with each element representing a different social class.Socially-privileged water people flow back and forth through high-rises, while fire people are limited to Firetown, essentially representative of immigrant communities.
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