In an era where the major studios mostly release sequels, reboots, and superhero movies, Warner Bros. took a more diversified approach this year. Half of its 2025 slate came from original screenplays without connections to popular intellectual property, roughly double the rate of its competitors. Unlike original films from Sony, Universal, or Disney, most of WB’s were R rated, high budget, and gave filmmakers wide creative control.
WB’s approach has proven lucrative and consistent. They are the first studio to surpass four billion in revenue this year, with fifteen number one weekends, and nine movies with opening weekends over $40 million. I predict WB’s success will push majors and mini-majors like Amazon MGM to expand their high budget lineups beyond franchises. It’s a smart financial movie that also helps keep movies culturally relevant.
It may seem odd to anchor such cultural weight to massive studio conglomerates. But these companies produce most of what mainstream audiences watch. Disney, Universal, Sony, Paramount, and WB bankroll films with broad genre appeal, recognizable stars, and huge marketing campaigns. For casual moviegoers who only see a few movies a year, there’s a good chance at least one of them came out of the studio system, whether in theaters or on streaming platforms.
When studios narrow their output to four-quadrant franchise films, it has a long term corrosive impact. Many potential moviegoers, especially older audiences, are alienated by the lack of variety. Even superfans are getting burned out; superhero fatigue has lead to a sharp global box office decline for Marvel and DC films.
Also, when the brand is the main draw of a film, the cast and crew behind it can feel interchangeable or otherwise trapped within their franchise identity. That’s hurt the ability for film talent to build a long term relationship with moviegoers. Consequently, there are far fewer A-list stars and bankable directors than a decade ago. Producers are less willing to take risks on unfamiliar subject matter.
Diversifying beyond franchise movies can help slow or even reverse this decline. WB’s reach ensures that a film like Ryan Coogler’s Sinners will play in small-town theaters, be widely available on Blu-ray, and top VOD and streaming charts. As a vampire horror movie shot on large format film with a diverse cast, Sinners typifies the kind of bold swing that can attract new audiences and inspire emerging filmmakers.
Still, there are larger existential challenges that even a diversified slate can’t solve. On demand entertainment options continue to proliferate. WB’s Weapons and One Battle After Another are strong films that deviate from studio norms, but many potential viewers don’t even know they exist. With an infinite array of niche entertainment options to dive into, audiences can easily tune everything else out.
Also, what if WB’s banner 2025 is a fluke? Next year’s lineup includes high budget originals from Emerald Fennell, Alejandro Iñárritu, and Maggie Gyllenhaal, but all could underperform. If safer franchise films from other studios lead the box office, Hollywood — WB included — may retreat from original screenplays and creative genre fare.
Even so, I’m cautiously optimistic that WB’s bet on creativity and originality is less an aberration and more a larger industry shift. Not out of cultural or artistic reasons, but simple economics.
Studios have always evolved and pivoted towards what seems profitable. In the 1960s, the failure of musicals and westerns gave way to New Hollywood auteurs. In the 1990s, the American independent boom led to major studios buying up smaller independents like Miramax and New Line. Marvel’s massive hits in the late 2000s pushed studios toward IP-driven films.
Today, to address a fragmented online audience looking beyond sequels and nostalgia, diversification may be the next evolution. It’s a rare case where short term capitalist instincts move in lockstep with long term cultural goods. Studios make more money, audiences get more variety, and cinema benefits.