When Wolf Man hit cinemas last Friday, it marked the end of a long and winding road that began over a decade earlier. Originally conceived as part of the ambitious Universal Dark Universe, this shared cinematic universe was to be Universal Studios’ answer to the Marvel Cinematic Universe. With iconic characters like Dracula, Frankenstein, and The Mummy under their banner, Universal aimed to weave an interconnected narrative that would breathe new life into their legendary monster films. But despite the tantalising promise, the Dark Universe’s fate became a cautionary tale of ambition meeting reality.
The Dawn of the Dark Universe
The origins of the Dark Universe can be traced back to October 2013, when Universal Studios hired Roberto Orci and Alex Kurtzman to spearhead a relaunch of their Universal Monsters franchise. The goal was simple: create a shared universe akin to Marvel’s wildly successful formula. By July 2014, Chris Morgan replaced Orci and joined Kurtzman to oversee the development of interconnected films that would modernise and reimagine classic monster characters.
The seeds of this universe were planted with Dracula Untold (2014), which featured reshoots to position its ending in modern times, hinting at future connections. However, lukewarm reviews and underwhelming box office returns led Universal to downplay its connection to the planned franchise. The real starting point was repositioned with The Mummy (2017), intended to kick off the Dark Universe with a bang.
Building a Universe
Universal officially unveiled the Dark Universe in May 2017, complete with a flashy logo, an original theme by Danny Elfman, and a press conference announcing their ambitious plans. The writer’s room included some of Hollywood’s most prolific screenwriters, tasked with crafting a horror-focused series that honoured the source material while embracing modern cinematic storytelling. Unlike the action-adventure remakes of the past, the Dark Universe aimed to put horror front and centre.
The Mummy, played by Sofia Boutella, would lead the charge, with Tom Cruise starring as a heroic character destined to become a monster himself. The film also introduced Russell Crowe as Dr. Henry Jekyll, a character intended to serve as the connective tissue between the universe’s disparate storylines. Universal’s announcement also confirmed an impressive slate of talent: Johnny Depp as the Invisible Man, Javier Bardem as Frankenstein’s Monster, and Angelina Jolie reportedly in talks to star as the Bride of Frankenstein.
The studio’s planned films included:
Bride of Frankenstein: Directed by Bill Condon and starring Angelina Jolie, this film was set to be a key instalment in the franchise. Initially slated for a 2019 release, it was postponed indefinitely after The Mummy’s failure.
The Invisible Man: Originally announced with Johnny Depp in the lead role, this project was later reimagined as a standalone film by Blumhouse Productions. The 2020 version, starring Elisabeth Moss, received critical acclaim but bore no connection to the Dark Universe.
The Wolf Man: A script by Aaron Guzikowski was in development, and Dwayne Johnson was reportedly considered for the titular role. The project lingered in limbo until its recent revival, with Ryan Gosling originally set to star, before he dropped out (yet remains an executive producer for the final 2025 release).
Creature from the Black Lagoon: Scarlett Johansson was rumoured to star in this reimagining, but little progress was made beyond initial scripting.
Dracula: Alex Kurtzman expressed plans for a Dracula-centric film, but no substantial development followed.
Other projects included Phantom of the Opera, The Hunchback of Notre Dame, and Van Helsing, each intended to bring fresh interpretations of the classic monsters to modern audiences.
The Collapse of Ambition
Despite the fanfare, The Mummy was a critical and commercial disappointment. Critics lambasted the film’s tonal inconsistencies, lacklustre storytelling, and its prioritisation of universe-building over standalone quality. While Sofia Boutella’s portrayal of the titular mummy received some praise, Tom Cruise’s character—a heroic figure destined to become a monster—was deemed underdeveloped and unconvincing.
Universal’s decision to shift away from horror and embrace an action-adventure aesthetic proved divisive. The studio had envisioned the Dark Universe as a genre-spanning series, but fans of the classic Universal Monsters were left cold by the lack of atmospheric horror that had defined the originals. When The Mummy underperformed at the box office, grossing just $410 million globally against a $195 million budget (including marketing costs), the studio hit pause on its grand plans.
Lessons Learned and a New Direction
The Dark Universe’s failure was a sobering reminder that shared cinematic universes are not guaranteed successes. Universal’s decision to prioritise interconnected storytelling over individual film quality was a critical misstep. In contrast, Marvel’s approach—allowing each character and story to stand on its own before weaving them into a larger tapestry—had proven successful precisely because it built audience investment over time.
In the aftermath of the Dark Universe’s collapse, Universal pivoted to a more flexible strategy. Instead of forcing interconnectivity, the studio began developing standalone monster films with unique creative visions. Blumhouse’s The Invisible Man (2020), directed by Leigh Whannell, exemplified this approach, earning praise for its suspenseful storytelling and contemporary themes.
Other projects, like Chloé Zhao’s Dracula and James Wan’s untitled monster film, suggest that Universal is embracing a more director-driven model. These films aim to reimagine the classic monsters for modern audiences without the constraints of a shared universe, allowing for greater creative freedom.
The Legacy of the Dark Universe
Though the Dark Universe as originally envisioned no longer exists, its legacy endures as a cautionary tale for Hollywood studios. It highlights the importance of prioritising storytelling over spectacle and ensuring that each film resonates with audiences on its own terms. Universal’s monsters remain iconic, and the studio’s renewed focus on standalone projects offers hope that these characters will continue to captivate audiences for generations to come.
In the end, the Dark Universe was an ambitious experiment that fell victim to its own grand designs. But like any good monster, the idea may rise again—perhaps this time, in a form that does justice to its timeless source material.
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