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As veteran Hollywood producer Lynda Obst makes abundantly clear in her enjoyable new book Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business, Hollywood’s got a fevaaaah, and the only prescription is cranking out more and more superhero and sci-fi franchises. Warner Brothers has Batman and Superman, Paramount has the Star Trek and Mission: Impossible franchises, and Disney has Marvel Comics and now Star Wars as well.

Beginning with the subhead of her book’s title, Obst calls this “The New Abnormal” — the Old Abnormal she defines as the revolution that Spielberg and Lucas ushered into Hollywood via Jaws and Star Wars, and basically exhausted itself sometime after 9/11. (Obst explored some of the reasons why in the excerpt of her book in Salon, which we blogged about a couple of weeks ago.) Of course, the Old Abnormal itself replaced an earlier abnormal cinematic era — “New Hollywood.” That was the post-studio system period, when Hollywood stopped ingratiating itself with the audience, and started producing all those dark cynical (and occasionally brilliant) films that dominated the pre-Lucas 1970s, an era whose alpha and omega works were summed up in the title of Peter Biskind’s definitive history of New Hollywood, Easy Riders, Raging Bulls.

Obst explains the formula for ‘The New Abnormal” thusly:

1. You must have heard of the Title before; it must have preawareness.

2. It must sell overseas.

3. It should generate a Franchise and/ or Sequel (also a factor of 1 and 2).

And when you’ve got franchises and sequels, you have much less need for expensive, temperamental superstars. Which explains this recent headline in the London Independent: “The last action heroes: Have Tom Cruise, Will Smith and Brad Pitt lost their mojo?”

Studios now have more control over their product when stars are not involved. This is especially true of superhero movies. The exception that proves the rule came recently when Robert Downey Jr caused a ripple by threatening to stop playing Iron Man. The studio dithered, no doubt knowing they could save a fortune by letting him go. Fans balked and the studio relented. A hefty payday will see him star in Avengers 2 and 3, a comic-book ensemble that doesn’t need Downey Jr in it to guarantee bums on seats.

A caveat is that the appeal of the stars seems to have not been so diminished in foreign markets, especially nascent territories such as China and Russia. There has been a big shift in Hollywood studios’ attitudes in the last 10 years as the takings from foreign markets have started to dwarf those of domestic audiences. So while After Earth was deemed to have bombed in America, foreign takings a week later softened the crash landing.

The reaction of Cruise and Smith to their box-office numbers suggest they are in consolidation mode. Cruise has abandoned plans to star in an adaptation of 60s TV show The Man from U.N.C.L.E. and announced that he’s making a 5th instalment of Mission: Impossible. There’s also talk that he’s considering turning Jerry Maguire into a TV show. Will Smith has been on American talk shows downplaying the weak opening of After Earth and, while talking about looking for more risks in his choices and moving away from blockbusters, he has also been rumoured to be preparing for sequels of Bad Boys, I, Robot and Hancock. Although his Men in Black franchise has seen each sequel make less money than predecessors. The stars are following the studios in relying on their best-known characters to sell their movies.

What’s intriguing is that there seem to be no successors to Cruise, Pitt and Smith. The recent huge blockbuster franchises have been superhero movies, Batman and Spider-Man, or ensembles based on books, Harry Potter, Twilight and Lord of the Rings. It’s hard to imagine Christian Bale breaking box-office records outside of the bat-suit. The summer blockbusters have evolved away from being star vehicles as studios have hit on a formula where they can call the shots. That’s bad news for the non-tights-wearing action star.

It’s actually not all that “intriguing” as to why there are few successors to Cruise, Pitt, Smith, and their older partners-in-greasepaint such Bruce, Sly, Harrison and Schwarzenegger (and Mel Gibson before he nuked his career). They’re the last remaining action-oriented superstars before the rise of World Wide Web completely demassified pop culture beginning in the mid-1990s. Since none of these actors are getting any younger, Hollywood has increasingly relied upon the sci-fi and superhero franchises that existed before the demassification of media to provide a reason for audiences to go out to the movies.

Unfortunately, the result is  a dismal chart such as this, reproduced in Sleepless in Hollywood as a damning portrait of Hollywood’s lack of creativity:

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Click to enlarge.

On the other hand, there is a new hope, to coin a cinematic phrase, which we’ll discuss right after the page break. (Pick up some popcorn in the lobby while clicking over.)