Adam Kotsko

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The Prequel Boom

The Prequel Boom

Why do studios keep doing prequels if fans hate them? And why do fans hate them so much in the first place?

In other words, though the term is recent, the narrative technique of the prequel is not as new as it may appear. What is new, it seems, in modern prequels is their much lower ideological stakes. People were willing to kill and die over the legitimacy of Julius Caesar’s consolidation of imperial power in Rome, and despite the heated rhetoric of online debate, it is difficult to imagine anyone working up as much real-world fervor over George Lucas’s decision to posit a racial-biological basis for susceptibility to the Force in The Phantom Menace. Yet as the debates over diversity in casting and the portrayal of female leadership in the recent Star Wars films shows, story-telling decisions do carry a political-ideological charge, which is presumably not unrelated to their ability to provide the foundation for community and identity among particularly enthusiastic fans.