Can't we just ban sequels for a few months?

Ryan Gilbey wonders why <em>Despicable Me 2</em> had to be made.

I have no time for sequel snobs but lately I have found myself fantasising about a small breather from the Part 2s and Episode 3s, a brief but significant moratorium on the whole franchise farrago. These thoughts were prompted by seeing Despicable Me 2, a completely redundant follow-up to the perfectly delightful 2010 original. The friction in the first film arose from the mismatch between the professional bad guy Gru (voiced splendidly by Steve Carell) and the three cutie-pie orphan sisters whom he adopted as part of a plan to foil his rival in super-villainy. Knowing that Gru would surrender to his mushy paternal impulses and renounce evil by the final scene did nothing to spoil our enjoyment at seeing his beastly façade fall away piece by piece. The challenge with the sequel is where to take Gru now that his heart has thawed. Despicable Me 2 fails completely to provide an answer, floundering around instead for 100 minutes searching for inspiration. There’s nothing left for Gru to do. How many life lessons can one super-villain learn?

My plan – and I appreciate fully that this would sound to some people like super-villainy itself – would be to arrest all production on sequels for six months. Too harsh? Okay: how about three? Just enough time to give inspiration an opportunity to flourish among the major studios, in much the same way that Glastonbury is sometimes suspended for a year to allow the land a chance to recover from all those hobnailed boots traipsing from the Pyramid Stage to the falafel stalls and back again. One precedent is the Pop Strike proposed in 2001 by Luke Haines, when he called all fellow musicians and consumers of music to down tools for a week. It was never going to work – I’m sure it was never intended to – but it was enough to make audiences think about the presence of music in their lives. I wouldn’t suggest a similar black-out for the whole of cinema, but a hiatus from sequels might give everyone – filmmakers, distributors and audiences alike – room to contemplate a populist cinema that didn’t depend only on known quantities.

I’m under no illusion that this would automatically result in works of startling originality. Sequels are not the only source of complacency. Occasionally they even become towering achievements in their own right, the obvious examples being the second Godfather and Toy Story films or the recent Before Midnight. But that’s rare. What an interesting winter period we might have next year, though, if all sequel production were to be halted in the next few months, thereby clearing a gap in the release schedules for Christmas 2015. I don’t think we could help but feel refreshed by an absence of the numbers “2” and “3” from cinema marquee displays. Children would gaze up at those unfamiliar titles, those celebrations of the zero-recognition factor, and ask plaintively: “What’s that film about, Mum?” And Mother would smile at her wee ragamuffin and say: “I don’t know, sweetheart. Why don’t we go and find out?” Cue twinkly, uplifting music and a soaring eye-of-God crane shot looking down fondly as parent and child seek sanctuary and inspiration in the cinema.

It’s moving, isn’t it? And it’s an especially tantalising project as we look over the upcoming summer releases: The Wolverine, The Smurfs 2, Monsters University (a prequel to Monsters, Inc), Red 2, Percy Jackson: Sea of Monsters, Grown Ups 2, Kick Ass 2. And there’s more to come in the rest of the year: Insidious 2, Cloudy with a Chance of Meatballs 2, Paranormal Activity 5, The Hunger Games: Catching Fire, Anchorman: The Legend Continues, The Hobbit: The Desolation of Smaug.

But those of us who yearn for a tiny reprieve might look to the box-office figures and despair. Monsters University has taken over $105m in less than a week on release in the US. This year’s Fast and Furious 6 has grossed $647m worldwide – and rising. Iron Man 3 – a highly enjoyable sequel, as it happens – has taken over $1bn internationally since its release in May, and even a lacklustre knock-off such as The Hangover Part III has converted audience goodwill into a staggering $325m. The numbers are against us. But we can dream.

Despicable Me 2 is released 28 June

Gru (voiced by Steve Carell) in Despicable Me 2.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

Show Hide image

SRSLY #20: Friends, Lovers, Divers

On the pop culture podcast this week, we talk albums from Joanna Newsom, Bjork and Grimes, Todd Haynes film Carol, and comedy web series Ex-Best.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

Listen to our new episode now:

...or subscribe in iTunes. We’re also on Stitcher, RSS and SoundCloud – but if you use a podcast app that we’re not appearing in, let us know.

SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s web editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

If you’d like to talk to us about the podcast or make a suggestion for something we should read or cover, you can email srslypod[at]

You can also find us on Twitter @srslypod, or send us your thoughts on tumblr here. If you like the podcast, we'd love you to leave a review on iTunes - this helps other people come across it.

The Links

Joanna Newsom, Bjork and Grimes

Joanna Newsom’s Divers doesn't seem to be on Spotify, but you can get it on iTunes here. Listen to Grimes’ Art Angels here and Bjork's Vulnicura here.

This is a good piece about Joanna Newsom.

This piece makes the comparison with Elena Ferrante that we talk about on the podcast.

Here's Grimes's own post about Bjork.

Tavi Gevinson's interview with Joanna Newsom (where she talks about liking Grimes).



Ryan Gilbey's review of Carol, which he calls “as tantalising as hearing a tender ballad on a tinpot transistor”.

Anna's piece about the photographers that influenced the visual style of the film.

An interesting Q & A with director Todd Haynes.



The full series is available to watch for free here.

Meghan Murphy on friendship break-ups.


Your questions:

We love reading out your emails. If you have thoughts you want to share on anything we've discussed, or questions you want to ask us, please email us on srslypod[at], or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.


Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 


See you next week!

PS If you missed #19, check it out here.

Caroline Crampton is web editor of the New Statesman.

Anna Leszkiewicz is a pop culture writer at the New Statesman.