Perhaps it’s the nostalgia of viewing the past through rose-tinted lenses or the absence of AI and social media’s relentless influence. Either way, some of today’s most prominent filmmakers are revisiting an era before “binge-watching” and “content” became synonymous, harking back to simpler pleasures like slow-motion beach scenes.
Whatever the motivation, the ’90s are making a comeback, carrying a newfound prestige that transcends the era of VHS tapes and disposable cameras.
On Monday, news surfaced that Ryan Coogler, the acclaimed director behind “Sinners” and an Oscar contender for Best Director at the upcoming awards, is set to revive “The X-Files” on Hulu, with BAFTA nominee Danielle Deadwyler taking on a leading role.
Chris Carter, who created the original Emmy-winning show featuring David Duchovny and Gillian Anderson as FBI agents Fox Mulder and Dana Scully, revealed in 2023 that Coogler aims to “reinvent ‘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.”
Streaming platforms aren’t alone in diving back into ’90s intellectual property.
According to Variety, Fox is also in the process of rebooting “Baywatch.” This decision comes as a bit of a puzzle, given the poor 18% critical rating of the 2017 movie adaptation. As of Thursday, the network held a casting call attracting 2,000 eager participants ready to embrace the iconic lifeguard legacy.
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?
