We started this episode reflecting on a franchise that never even got the chance to take off: Universal’s Dark Universe. This wasn’t a revisit of a long-running horror saga or a celebration of a cult classic; it was more like a post-mortem on a half-built cinematic dream.
Meaghan and Arthur jumped into this topic after recently watching (or rewatching) 2017’s The Mummy starring Tom Cruise. Neither of them walked away impressed. In fact, it sparked questions about how something that seemed so promising could fall apart so quickly.
They reminded us that this wasn’t a traditional franchise breakdown, mainly because there was barely a franchise to begin with.
There were plans, press photos, and whispers of a big interconnected world, but when it came to actual execution, only a few puzzle pieces ever made it to the table. So, the conversation turned to exploring what Universal was trying to do, how they tried to do it, why it didn’t work, and what, if anything, is happening with those monster properties now.
A Big Plan Without a Good Start
Universal had the ambition. They wanted to bring back their iconic monsters, Dracula, Frankenstein, the Mummy, Invisible Man, Wolfman, and weave them into a shared, modern cinematic universe.
Think of it like Marvel’s MCU, but with fog, coffins, and gothic terror instead of capes and cosmic chaos. The idea wasn’t just to reboot a few standalone films. They were aiming for an entire ecosystem of interconnected horror action stories.
But there’s a key difference between a bold vision and a successful launch. Universal had the rights to legendary properties and the nostalgia of old Hollywood horror in their corner, but they didn’t have the groundwork that Marvel had with Iron Man.
Instead, the first hint of this dark universe came with 2014’s Dracula Untold. That film ended with a modern-day epilogue teasing future stories, but when it underperformed critically and financially, Universal quietly backed away from considering it canon. Basically, they ghosted their own first attempt.
Putting All the Chips on Tom Cruise
Instead of building gradually, Universal reset the board in 2017 and tried to go big with The Mummy. This was supposed to be the real kickoff to the Dark Universe. They didn’t hold back.
They brought in Tom Cruise, a blockbuster juggernaut, and wrapped him in a high-budget action-horror hybrid that was set in the modern day. They also introduced Russell Crowe as Dr. Jekyll, teasing a shadowy monster organization that would presumably tie all future films together.
But here’s where things started going wrong.
The movie couldn’t decide what it was. It tried to be a horror movie, an action blockbuster, and a universe launcher all at once. Arthur joked that it was three halves of a movie, and she’s right. It never fully committed to one genre, and as a result, it didn’t do any of them well.
The tone was confusing, the characters were forgettable, and the story felt like it had been rewritten too many times. Instead of asking whether it was a good film, it seemed like the studio only asked, “Does this launch the franchise?”
And spoiler: it didn’t.
The hosts pointed out that the 2017 Mummy didn’t make a strong case for continuing anything. It made money globally, just over $400 million, but not nearly enough to justify its massive production and marketing costs. It wasn’t a bomb, but it was far from a hit.
There was no momentum, no critical acclaim, and no excitement for what would come next.
A Universe That Never Was
Arthur and Meaghan recalled that Universal had gone all-in on promoting the Dark Universe, even before The Mummy hit theaters. There was a full-cast promotional photo featuring Cruise, Crowe, Johnny Depp, and Javier Bardem.
Each actor was already tied to a monster: Depp was going to be the Invisible Man, Bardem the Frankenstein’s Monster, and Angelina Jolie was rumored to play the Bride of Frankenstein.
There were also whispers about the Phantom of the Opera, the Creature from the Black Lagoon, and even a Hunchback of Notre Dame movie. It was a packed lineup of horror icons.
They even had a writers’ room in place to map out sequels, crossovers, and shared mythology, just like Marvel did. Kurtzman and Morgan were brought in to oversee the project, both of whom had solid resumes full of action and sci-fi credits. On paper, it looked like a well-oiled machine. But the machine stalled before it even left the garage.
There were many reasons it failed.
First, the foundation was weak. Dracula Untold didn’t land. The Mummy didn’t either. Unlike Marvel, which had a successful start with Iron Man, Universal never got that first win to build from.
Second, the tone of the films was off. Instead of embracing horror, they leaned into big-budget action. It was too close to the vibe of Mission Impossible, and Tom Cruise’s rumored creative control didn’t help either. The monsters took a backseat to the spectacle. The characters didn’t get enough development, and the storytelling never gave audiences a reason to get invested.
Meaghan pointed out that the audience didn’t really want this universe in the first place. There was no cultural demand for it. Horror fans weren’t asking for action-adventure revamps of the classics. And action fans already had their fill from Marvel and other blockbusters. The Dark Universe tried to force something that didn’t align with the moment.
Where It All Went Next
Once The Mummy flopped, Universal pulled the plug quickly. The planned Bride of Frankenstein movie was shelved. Kurtzman and Morgan exited. The entire Dark Universe office was shut down. Just like that, the whole plan disappeared.
But here’s the thing, those monster stories? They’re not dead. They’ve just been reimagined.
Meaghan and Arthur pointed to Leigh Whannell’s The Invisible Man (2020) as proof that these characters still work when the right approach is taken. That film had a modest $7 million budget and brought in over $125 million.
It was a true horror film, grounded in real-life terror, with an updated take on abuse and control. It didn’t try to be a universe starter; it just tried to be good.
Same with Guillermo del Toro’s Frankenstein, which shows what happens when someone with genuine love for the source material takes the reins. There’s also a new Mummy movie coming in 2026, directed by Lee Cronin (Evil Dead Rise), and it’s supposedly pure horror this time.
That’s the direction that works. Stick with horror. Let the monsters be scary again. Build character, not spectacle.
There’s even chatter about The Bride, another dark reinterpretation, and yes, Universal is incorporating the “Dark Universe” theme into their theme parks. So maybe, just maybe, the monster revival will find its footing eventually. But this time, hopefully, without the pressure of being the next MCU.
Final Thoughts: Let Horror Be Horror
We ended the episode circling back to what went wrong. It wasn’t the monsters. It wasn’t the actors. It was the strategy. The studio overreached. They bet on a franchise before they had a film worth franchising. Meaghan put it best: “It’s not the universe that people get attached to. It’s the characters.“
And Arthur agreed. Without compelling stories or grounded motivations, the audience checks out. No one wants to sit through two hours of setup for a payoff that might never come.
There’s still love out there for these monsters. You can feel it in the excitement when a new Dracula film is announced or when Frankenstein gets another shot. The fans are ready, but they’re not looking for a Marvel clone. They want scary, smart, modern horror that respects the original stories while offering something fresh.
If the industry listens to that, maybe we’ll get the universe we were promised, just not all at once.