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However, it would be reductive to claim this model produces only garbage. When executed with genuine vision, the franchise model can yield remarkable art. Andor (Disney+/Lucasfilm) stands as a counter-argument: a slow, politically complex spy thriller that happens to be set in the Star Wars universe. Similarly, Spider-Man: Across the Spider-Verse used its IP status not as a crutch but as a canvas for revolutionary animation and complex meta-commentary on heroism. The difference lies in intent. These productions treat the IP as a setting, not a straitjacket. They prioritize authorial voice and thematic depth over checklist fan service. The problem is not the existence of franchises; it is the monopolistic dominance of the franchise mentality .

: A major global player, Sony controls the Spider-Man film rights (in partnership with Marvel) and franchises like Jumanji and Ghostbusters . brazzers angel youngs avery jane double th best

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The 2023 phenomenon was more than a movie; it was a marketing coup. By pairing Greta Gerwig’s arthouse sensibility with the world’s most famous doll, Warner Bros. created a production that appealed to nihilists, feminists, and children simultaneously. It grossed over $1.4 billion, proving that original (non-superhero) blockbusters can exist. Similarly, Spider-Man: Across the Spider-Verse used its IP