Maybe it’s because everything looks better through rose-colored glasses or without the ubiquitous presence of artificial intelligence and social media. Regardless, some of today’s foremost directors are channeling the days before bingeing applied to content, before art was dubbed content — back when all audiences needed was slo-mo running on a beach.
Whatever the reason, the ’90s are back, aided by more objective prestige than the days of VHS tapes and disposable cameras might initially conjure.
News broke Monday that Ryan Coogler, the critically and commercially acclaimed “Sinners” auteur tapped for a Best Director Oscar at next month’s ceremony, will be rebooting “The X-Files” for Hulu, with BAFTA nominee Danielle Deadwyler starring.
Chris Carter, creator of the original Emmy-winning series starring David Duchovny and Gillian Anderson as Fox Mulder and Dana Scully, a pair of FBI agents probing the paranormal, said in 2023 that Coogler was planning to “remount ‘The X Files’ with a diverse cast.”
The Disney-owned streamer will also be the home of the “continuation” of “Buffy the Vampire Slayer,” helmed by Oscar-winning “Nomadland” filmmaker Chloé Zhao, who is also nominated at this year’s Oscars for directing “Hamnet.” Sarah Michelle Gellar will reprise the titular role in what she has said is “not a sequel” and “not a reboot.”
Streamers aren’t the only ones dipping their toes into the deep end of ’90s IP.
Variety reported this month that Fox is rebooting “Baywatch.” That one though remains a bit of a head scratcher, given the 18% critical approval rating of the 2017 film adaptation. As of Thursday, the network hosted a casting call that attracted 2,000 hopefuls ready to save the sun-soaked day.
But will the revitalization of these properties simply use the names blessed — or burdened — with built-in fanbases, or will they hearken back to the era in which they first made waves?
The pendulum has swung in myriad ways since the days Pamela Anderson was running to the rescue in a red one-piece. In recent years, the “Baywatch” alum, 58, has spoken at length about the journey to reclaiming her identity from her over-sexualized image at the turn of the century.
“And Just Like That…” — the oft-derided yet widely watched “Sex and the City” spinoff — made a concerted effort to update its plot and characters for today’s sensibilities, to varying degrees of success.
While critics would likely argue “The X-Files” is in far more deft and capable hands with Coogler than, say, those of Michael Patrick King, it remains to be seen whether the impulse to revisit existing properties is simply for the sake of nostalgia.
Could that then be the reason for the success of “The Pitt?” The Emmy-winning HBO hit can’t legally call itself an “ER” spin-off, even if it comes about as close as one can — down to sharing a star in Noah Wyle, who initially hoped to reprise his role as Dr. John Carter in a direct sequel.
One striking similarity no one can deny about the two medical sensations is their week-to-week impact.
Instead of dropping multiple episodes at once to facilitate a binge, “The Pitt” living on HBO means fans wait for updates week-to-week.
While most streaming shows — and, really, most prestige shows — contain 5 to 10 episodes per season, with seasons premiering between 1 to 4 years apart, the first two seasons of “The Pitt,” contain 15 episodes apiece and premiered in January 2025 and 2026. Just like traditional television, the third season is already slated to premiere early next year, like clockwork.
Are these returns to form, both in the way of content and viewing, just channeling older sensibilities? Or are they proof that today’s viewer wants something, anything, to hold onto that signals to a more familiar, more comfortable time?
