All of those genre shows and movies and comics provided an endless stream of inspiration and reference material for dedicated cosplayers, who turned out to conventions and Halloween in everything from DHARMA Initiative coveralls to Spider-Man suits they dressed as zombies, Time Lords, Starfleet officers, and plenty more. This incredible fan and media environment helped explode cosplay from a niche convention activity into mainstream acceptance. Fans had more characters than ever to choose from and more places to go in costume, and they could do so knowing that their fandom was no longer stigmatized. As the saying goes, “If you build it, they will come.” With more genre content certainly came more fans in a long-running feedback loop that still shows no sign of slowing down.Īs a result, the cosplay scene exploded. Today, “fan,” “nerd,” and “geek” are no longer epithets: They’re badges of honor.įinally, the 2000s kicked off a new era of popularity for video games, with mega-games like Fallout, Gears of War, Half-Life, Halo, World of Warcraft, and others exploding in popularity, due in part to the release of next-generation consoles (which allowed for better graphics) and internet access, which became only more universal as smartphones improved and hosted higher-quality games for hundreds of millions around the world.Īccompanying all of this genre content was the proliferation of fan websites - the modern-day equivalent of the fanzines of old - which pulled together viewers to discuss the latest episodes, their favorite characters, theories on where the show/book/film would go next, and more. Where stories about aliens, dragons, and zombies were once confined to a niche audience, the wider viewing public was now obsessed with them. These projects have gone mainstream in ways that fans of yesteryear could only have dreamed of. There were plenty of other high-concept genre projects as well, such as Arrival, Annihilation, Blade Runner 2049, Ex Machina, Interstellar, Mad Max: Fury Road, and Gravity. Science fiction continued to take over as well: The Marvel Cinematic Universe played out over twenty-one installments Star Wars returned to theaters with The Force Awakens and Warner Bros. Meanwhile, shows like The Big Bang Theory and Community helped to introduce and popularize traditional geek activities such as comic books, Comic-Con, Dungeons & Dragons, and cosplay for a much wider audience.įrom that foundation, genre fans had plenty to choose from in the 2010s: On television, there was AMC’s The Walking Dead HBO’s Game of Thrones, Westworld, and True Detective The CW’s Arrow (and its sister DC Universe shows) Netflix’s Stranger Things, and the mini Marvel universe featuring Daredevil, Jessica Jones, Luke Cage, Iron Fist and The Punisher Amazon’s The Expanse Hulu’s The Handmaid’s Tale and plenty more.
Abrams revived Star Trek in theaters, while George Lucas finished out his Star Wars prequel trilogy and followed it up with an animated television series, The Clone Wars.
Superhero films like X-Men and Spider-Man kicked off the comic book adaptation bandwagon, setting the stage for the Marvel Cinematic Universe, which began in 2009 with Iron Man. Rowling’s Harry Potter novels became just as popular as their source material. Tolkien’s classic fantasy trilogy, while adaptations of J. Peter Jackson’s The Lord of the Rings blew away audiences with its serious take on J.R.R.
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The 2000s was also when genre blockbusters took over movie theater box offices. This wasn’t random escapism: It was a serious drama.
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The series garnered widespread acclaim from critics, who pointed to its scientific realism and political relevance. Moore’s reboot of the 1978 science-fiction series Battlestar Galactica on the Sci-Fi Channel. This set the groundwork for other ambitious projects that would follow, like Ronald D.
Michael Straczynski, Rick Berman, and Michael Piller began to experiment with the storytelling format on their shows Babylon 5 and Deep Space 9, shifting away from standalone, episodic installments in favor of longer, serialized storylines. For decades, science-fiction and fantasy film, literature, and television were looked down upon by their more mainstream genre counterparts and creators, a lingering result of their low-brow origins: cheaply printed paper, cardboard sets, and escapist themes.
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