Hollywood’s in CHAOS, Says Dakota Johnson! 😱

Madame Web star Dakota Johnson just dropped a bombshell.
Says studios are obsessed with remakes.
Creative decisions? Made by clueless committees!

Why is Tinseltown such a mess?
Click to dive into the drama! 👇

On June 12, 2025, Dakota Johnson, star of the critically panned Madame Web, ignited a firestorm with her candid critique of Hollywood’s state during an appearance on Hot Ones. “I guess it’s all just a bit of a mess right now, isn’t it?” she told host Sean Evans, slamming studios for churning out remakes and sequels while creative decisions are made by “people who don’t even really watch movies.” Her comments, reported by The Hollywood Reporter and amplified on X by users like @Variety, reflect a growing frustration among actors, filmmakers, and audiences. This article explores Johnson’s perspective, her Madame Web experience, and the broader industry trends contributing to Hollywood’s “hot mess,” drawing on recent reports and critical analysis.

Dakota Johnson’s Critique: A Scathing Diagnosis

Johnson’s Hot Ones interview, promoting her A24 rom-com Materialists, was a masterclass in blunt honesty. Asked why Hollywood is “so risk-averse,” she pinpointed two issues: studios’ reliance on remakes and decision-making by uncreative committees. “When something does well, studios want to keep that going, so they remake the same things, but humans don’t want that,” she said. “They want fresh, they want to feel new things, experience new things, see new things.” She also criticized executives who “don’t even really watch movies or know anything about them,” arguing that corporate groupthink stifles art.

Her remarks echo sentiments she’s expressed before. In a February 2024 L’Officiel interview, Johnson called Hollywood “f***ing bleak,” lamenting executives’ distrust of artists and their fear of bold choices. “Everyone who makes decisions is afraid,” she said, contrasting her indie project Daddio’s struggle for funding with the industry’s obsession with “safe” blockbusters. Her Hot Ones comments doubled down, framing Hollywood’s reliance on intellectual property (IP) like Marvel, Star Wars, and Jurassic World as a creativity-killer. X posts, such as @DiscussingFilm’s, highlight her view that Madame Web’s failure wasn’t her fault but a symptom of these systemic issues.

The Madame Web Debacle: A Case Study

Johnson’s critique is inseparable from her experience with Madame Web, Sony’s 2024 Spider-Man spinoff. The film, starring Johnson as clairvoyant paramedic Cassandra Webb alongside Sydney Sweeney, Isabela Merced, and Celeste O’Connor, was a critical and commercial disaster, grossing just $100.3 million against a $100 million budget and earning an 11% Rotten Tomatoes score. The Hollywood Reporter noted its “ghastly reviews” and meme-worthy trailer lines, like “He was in the Amazon with my mom when she was researching spiders,” which fueled pre-release mockery.

Johnson has distanced herself from the project, telling the Los Angeles Times, “It wasn’t my fault.” She described Madame Web as starting “as something and turn[ing] into something else,” with creative decisions made by “people who don’t have a creative bone in their body.” During the press tour, her sardonic comments—calling bluescreen acting “psychotic” and admitting she hadn’t seen the film—sparked headlines like “Dakota Johnson Doubts Madame Web Will Be Good.” While some fans praised her “unhinged” honesty, others, per Fox News, saw it as an “unforced error” that hurt the film’s prospects.

The film’s failure wasn’t solely Johnson’s doing. Emma Roberts, who played Mary Parker, blamed “internet culture” for amplifying negativity, arguing the film was unfairly targeted before release. Isabela Merced expressed pride in its campy charm, likening it to Catwoman, but felt bad for crew members banking on a breakout hit. Industry insiders, per Collider, said Madame Web’s flop killed Sony’s plans for Spider-Women spinoffs, with one veteran noting, “We’re not going to see another Madame Web movie for another decade-plus.” The film’s scripting issues, radical changes from its original vision, and superhero fatigue—evident in flops like The Marvels and Morbius—contributed to its demise.

Hollywood’s Stagnation: A Broader Trend

Johnson’s comments resonate because they reflect a widely acknowledged crisis. Hollywood’s reliance on IP-driven blockbusters—sequels, reboots, and franchise films—has grown since the 2008 launch of the Marvel Cinematic Universe (MCU). In 2024, seven of the top ten domestic box office films were sequels or prequels, including Deadpool & Wolverine ($636 million) and Inside Out 2 ($652 million), per Box Office Mojo. Original films like Oppenheimer (2023) are outliers, with studios favoring “safe” bets over untested ideas. Johnson’s point about audiences craving “fresh” stories is backed by the success of A24’s Everything Everywhere All At Once (2022) and Past Lives (2023), which thrived on originality.

The “committee-driven” model Johnson decries is a byproduct of corporate consolidation. Studios like Disney, Warner Bros., and Universal, owned by conglomerates, prioritize shareholder value over artistic risk. A 2023 Variety report noted that executives often use algorithms and market data to greenlight projects, sidelining filmmakers’ visions. Johnson told Bustle, “You cannot make art based on numbers and algorithms. Audiences will always be able to sniff out bullshit.” This approach has led to creative misfires, with films like Argylle and The Marvels criticized for convoluted plots and committee-driven compromises.

Other stars echo Johnson’s frustration. Scarlett Johansson, reflecting on her MCU tenure as Black Widow, told GamesRadar that some films had “so much plot” she felt like a “device to move it along.” Bryce Dallas Howard, per the same source, said flops like Argylle are predictable during production, citing studio meddling. Nia DaCosta, director of The Marvels, admitted to a “learning curve” when her pitched vision was altered, per GamesRadar. These accounts suggest a systemic issue: studios’ fear of failure stifles innovation, producing films that feel “boring,” as Johnson noted in 2024.

The Audience Factor: Superhero Fatigue and Beyond

Johnson’s claim that “humans don’t want” remakes is partly true. Superhero fatigue, a buzzword since The Marvels’ $206 million global gross in 2023, reflects waning interest in formulaic blockbusters. Madame Web’s Netflix success post-theatrical run, per CBR, suggests audiences are more open to streaming lower-stakes films than paying for theater tickets. Yet, franchises like Avengers: Doomsday (2026) and Spider-Man: Beyond the Spider-Verse (2026) continue to draw hype, indicating IP isn’t dead—it’s just unevenly executed.

Audiences also reward originality when it’s accessible. A24’s Materialists, starring Johnson, Pedro Pascal, and Chris Evans, has earned praise for its fresh take on rom-coms, directed by Past Lives’ Celine Song. The film’s June 13, 2025, release and positive reviews contrast with Madame Web’s reception, supporting Johnson’s pivot to indie projects. Her upcoming thriller Verity with Anne Hathaway, set for 2026, further signals her shift from blockbusters.

Hollywood’s Response: Any Hope for Change?

Johnson’s critique isn’t new, but its timing—amid a post-strike, post-COVID industry—amplifies its impact. The 2023 WGA and SAG-AFTRA strikes exposed tensions over streaming residuals and AI, with creatives demanding more control. Johnson’s 2024 Bustle interview warned that AI-generated films would fail because “humans aren’t going to f***ing want to see those,” a view echoed in Disney’s recent AI lawsuit against Midjourney. Her Hot Ones remarks suggest studios must rethink their model to survive.

Some studios are listening. A24 and Neon thrive on original stories, while Universal’s Wicked (2024) balanced IP with bold adaptation choices, earning $623 million globally. Disney’s Mufasa: The Lion King (2024) faced mixed reviews for retreading familiar ground, proving Johnson’s point about remake fatigue. Yet, blockbusters like Avengers: Secret Wars (2027) show studios doubling down on franchises, banking on nostalgia like Robert Downey Jr.’s Doctor Doom casting.

The Cultural Divide: Fans and Critics React

Johnson’s comments sparked a polarized response. On X, @THR and @IGN framed her as a truth-teller, with fans praising her for calling out “soulless” blockbusters. Others, like @screentime, tied her Madame Web critique to broader flops, suggesting she’s deflecting blame. Reddit’s r/movies lauded her honesty but questioned her role in Madame Web’s failure, with some calling her press tour “chaotic.” Supporters, per the BBC, see her as “refreshingly honest,” akin to Ryan Gosling’s subversive Barbie press or Cillian Murphy’s candid Oppenheimer tour.

Critics argue Johnson’s privilege—daughter of Melanie Griffith and Don Johnson—softens her critique. Her Razzie win for Madame Web Worst Actress drew a supportive voice note from Sandra Bullock, a fellow Razzie recipient, highlighting her industry clout. Still, her pivot to Materialists and Verity shows she’s backing her words with action, choosing projects with “soul and heart.”

Conclusion: A Mess, But Not Hopeless

Dakota Johnson’s “hot mess” diagnosis of Hollywood is both a personal reflection and a systemic critique. Her Madame Web experience—marred by committee-driven changes and a brutal reception—underscores the industry’s struggle with creativity. Studios’ addiction to remakes and uncreative executives, as she describes, has led to a cycle of safe but stale blockbusters, alienating audiences craving originality. Yet, successes like Materialists and A24’s slate prove there’s demand for fresh stories when studios take risks.

Hollywood isn’t doomed, but it’s at a crossroads. Johnson’s call for artist-driven films, echoed by peers like Johansson and DaCosta, demands a shift from algorithm-led decisions to bold, human-centric storytelling. As audiences tire of superhero fatigue and recycled IP, studios must heed her warning or risk further flops. For now, Johnson’s voice—sardonic, unfiltered, and backed by her indie pivot—offers a glimmer of hope that Hollywood’s mess can be cleaned up, one original story at a time.