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Don't forget Loki, or WandaVision for that matter. I think there's been both qualitative and quantitative changes to American pop culture. Today's audience is able to handle more sophisticated or just convoluted complex narrative structures than in the past. From comic book cinematic universes to Christopher Nolan's gimmicks, we've come along way from straightforward standalone popcorn films. Now even dumb action movies have to be not just a sequel but intertextual, living within a cohesive fictional space. Everyone knows what "canon" refers to and most know common tropes. (Speaking of R&M, that show seems to be an example of running out of tropes to the extent of burning itself out, imploding into bigger and more meaningless reveals.) That's also because of quantity. We've simply got too much content, across both films but TV shows, games, tie-in novels, comic books, and other media. Merchandising has been huge since the original Star Wars, but now every franchise has a Wiki and dedicated scholars. It's a whole new level of meta. Maybe that's the only way we can handle the scale of content we are bombarded by; to try to fit them together into cohesive contexts. I don't know what that means for us as a society or as a culture, but I do note that The Matrix, or at least its sequels, helped to accelerate this process. Back in 2003, the series had both the Animatrix animated shorts and the Enter the Matrix video game that added to the story depicted on-screen, even introducing key characters that movie-only viewers would be confused by (such as the Kid). I would say that dense intertextuality and cross-media world-building, not so much the Gnostic question your reality themes (which are old hat now), is the current defining legacy of The Matrix. |
> ... convoluted complex narrative structures than in the past.
You've got to be kidding...