When people talk about “the good old days, ” they &# x27; re lament the death of simplicity. For San Diego Comic-Con attendees , nostalgia has always remains within the diehards who haunt the storey of the Convention Center, stringing up to buy artwork from their favorite illustrators or hunting down a forgery of that formative record from their childhood. They &# x27; re the ones who have seen SDCC go from comics convention to infrastructure-overwhelming pop-culture pilgrimage, the ones who can &# x27; t promotion but feel a little territory about the movie and Tv devotees spate the city.
Recent years have been a Gilded Age for those other followers, though, the ones who are here for a pan-pop spectacle. The ones who treat the overnight wait outside Hall H, the con &# x27; s marquee stagecoach, like an adventure in itself. The ones who intention their vacation time to take optimal advantage of the star-studded panels inside or really to visit the experiential “activations” that colonize ballparks and unoccupied spates throughout the city &# x27; s Gaslamp District. For them, self-indulgence is the whole point–and anytime a major studio or movie skips Comic-Con, they crave a little more for the time that J. J. Abrams passed 6,500 beings out of Hall H for a concert performance.
Two tents, two ideologies. This time feels like it &# x27; s mold up to satisfy neither one.
Granted, it wouldn &# x27; t be Comic-Con without some hand-wringing. If it &# x27; s not major comics retailers bailing on the event, it &# x27; s Marvel or HBO. But even with one or two main carelessness each year, SDCC has always hear enough infusions of brand-new vigour to counterbalance those omissions. In 2017, Netflix came out in force to tease its forthcoming genre movies. Last time, Amazon Prime returned six projects to its inaugural body, previewing future smashes like Homecoming and Good Omens . What does 2019 have? Well, it &# x27; s went Marvel in Hall H again, which is fun. It &# x27; s got plenty of category Tv registers, from Snowpiercer to Batwoman . em> It &# x27; s get Tim Miller &# x27; s Terminator sequel. But those things are far outweighed by what it acquired &# x27; t have, especially in Hall H: Star Wars. Sony. Universal. Warner Bros. Fox.
But wait! It &# x27; s not like Hall H is empty during the course of its hours that it would have otherwise hosted a major studio &# x27; s representation. Game of Thrones is back for a succes sip( that might end up being more of a Shame Nun-style pillory ). Avengers: Endgame leads Anthony and Joseph Russo are doing a Hall H committee of their own, as are Endgame columnists Christopher Markus and Stephen McFeely. HBO and Netflix are each hosting two (< em> Westworld and His Dark Information for the former, The Witcher and The Dark Crystal: Age of Resistance for the latter ). Somehow, Comic-Con feels like it &# x27; s expanding and contracting at the same time–that enormous inconsistency of the Age of Content.
What &# x27; s happening here is really a combination of consolidation and balkanization. For Star Wars and Disney Animation/ Pixar substance, Disney has long known it can bypass San Diego and head straight to its own fan occasions, Star Wars Celebration and the biennial D23 Expo.( D23 takes locate a few months after Comic-Con this year .) Fox is now duty of Disney–and unless Marvel hazards a mass cardiac happen by expose how it are likely to be implementing Fox’s Marvel-related belongings like the X-Men and Silver Surfer, we earned &# x27; t be hearing about the studio &# x27; s genre properties. Warner Bros. has always capitalized on Disney &# x27; s periodic absences, concluding its own decision this year to not dedicate love a peep at Jokershows, get the full Hall H medication. Big movie studios want to bail? Fine, say Netflix and Amazon and Hulu–we &# x27; ve got the marketing budgets to fill that void.
Attrition on one handwriting, proliferation on the other: If you demanded a sneak peek of what the future of television looks like, you couldn &# x27; t ask for a better one than this year &# x27; s Comic-Con. WarnerMedia gathers Friends off Netflix is attempting to captivate parties to HBO Max, its forthcoming streaming service; NBCUniversal does the same with The Office . Meanwhile, with its purchase of Fox, Disney buys out Comcast and takes full regulate of Hulu, developing in the company owning two streaming services outright( the other being Disney +)– each with its own legacy catalog, each with its own originals pipeline. Add in Apple, DC Universe, and whatever else, and you &# x27; ve got some hard decisions to make.
That changes the calculation of fandom far. Comic-Con, at its core, is still about personal investment in pop culture, and that speculation happens at all levels. You &# x27; ve come beings dedicated to a reference, to a movie, to video games, to a narrative universe–and, increasingly, to the pulpits that deliver those storeys and worlds. Don &# x27; t believe me? Read a psychographic sketch of Generation Z; YouTube and Netflix far outrank Disney and Nintendo in perceived coolness.( I regret to inform you that this one, which Google commissioned in 2017, is called “It &# x27; s Lit.”) While that honour is part predicated on the stuff that comes < em> out of those pipings, the fact remains that the tube itself has a role like never before. Just like Comic-Con, it &# x27; s all coming bigger–and it &# x27; s all get so, so much smaller.