David Fincher‘s upcoming Netflix franchise projects risks raising questions about the acclaimed filmmaker’s evolving direction, as he takes on several high-profile adaptations and sequels. The director, widely respected for his distinctive style in films like Se7en and Gone Girl, faces criticism and intrigue about whether these ventures will maintain his unique vision or deviate significantly from his established approach.
Fincher’s New Netflix Lineup Signals a Bold Turn
David Fincher, long regarded as a master of moody thrillers and thought-provoking dramas, is entering one of the most ambitious periods of his career. Despite never having secured an Oscar for directing, Fincher has four projects in development with Netflix: a remake of Hitchcock’s Strangers on a Train (titled Strangers), a film connected to Quentin Tarantino’s Once Upon a Time in Hollywood featuring Brad Pitt as Cliff Booth, the American reimagining of the global hit Squid Game—tentatively named Squid Game: America—and a prequel series to Chinatown, penned by Robert Towne himself.
These projects mark a significant pivot from Fincher’s earlier Netflix work, which included the highly praised series Mindhunter and original films like Mank and The Killer. While those reinforced his signature atmospheric style, the new lineup indicates a move towards established franchises with strong existing identities in Hollywood and beyond.
Bringing New Perspectives to Iconic Stories
Fincher’s involvement in Squid Game: America generates both excitement and skepticism. The original Korean series, created by Hwang Dong-hyuk, captivated global audiences with its intense storytelling and vivid visuals. With the original series preparing for its third and final season, Netflix’s decision to hand the reins of an American adaptation to Fincher suggests both a desire for creative reinvention and commercial strategy. Observers question whether Fincher’s trademark aesthetic—often cold, meticulously composed, and psychologically intense—can coexist with the distinct atmosphere of the original. The result may be less a remake and more a reinvention, inevitably different from Hwang’s vision.
Simultaneously, The Adventures of Cliff Booth will expand the world of Tarantino’s Once Upon a Time in Hollywood, transporting Brad Pitt’s character into the late 1970s. Yet, some movie fans wonder if this new venture should belong to Tarantino himself, given his unmistakable stylistic imprint. The thought of another filmmaker—no matter how talented—taking over what many see as Tarantino’s personal territory is cause for divided feelings. The situation is likened to the hypothetical scenario of someone else directing Kill Bill Vol. 2, which likely would have disappointed core fans.
Balancing Originality and Audience Expectations
Each of these upcoming Fincher projects is rooted in high-profile source material, carrying with them established tones and visual signatures. From reviving classic noir with Chinatown to adapting a Hitchcock masterpiece and navigating the contemporary phenomenon of Squid Game, Fincher’s future appears intertwined with legendary cinema and globally recognized franchises. This raises the key question of whether he will strive to authentically honor the spirit and aesthetics of these properties, or imbue them with his unmistakable style—potentially at the risk of alienating fans of the originals.
While the prospects are enticing, the convergence of a potential Chinatown prequel, a Tarantino-linked sequel, a Squid Game spinoff, and a Hitchcock remake coming together in a short window feels remarkable—almost as if it were curated from a Fincher superfan’s wishlist. Nonetheless, these projects are all in active development. Adding to this period of creative flux, screenwriter Aaron Sorkin is reportedly working on a sequel to The Social Network, a story Fincher himself may direct. The fact that Fincher hasn’t revisited his abandoned Dragon Tattoo sequel with Netflix, despite this string of major endeavors, presents an additional puzzle.
Past Collaborations and Unfinished Stories Shape Fincher’s Path
The recent trajectory of Fincher’s career reveals unresolved narratives and untapped potential. Mindhunter, an acclaimed Netflix original series about FBI agents tracking serial killers, was unexpectedly canceled after two seasons. Although season 3 was intended to relocate the story to Hollywood, Netflix cited high production costs and insufficient viewership as reasons not to greenlight another installment. The decision stings especially in light of the company’s willingness to bankroll other major productions, such as the Squid Game adaptation and the Tarantino-connected film, prompting questions about shifting priorities.
Even as Mindhunter recedes into the background, Fincher’s creative association with Netflix thrived in other forms. The animated anthology Love, Death + Robots brought continued success, though Fincher’s recent directorial contribution—a surreal six-minute puppet music video set to the Red Hot Chili Peppers’ “Can’t Stop”—surprised many fans. Earlier, his guidance helped set the distinctive tone for the first season of House of Cards, shaping the show’s political intrigue with his signature style, which later became a series hallmark.
Anticipation and Unease Surround Fincher’s Franchise Expansion
In the broader context of modern cinema, Fincher stands alongside figures like Christopher Nolan and Martin Scorsese as an auteur with a lasting legacy. His new undertaking, however, highlights a level of creative risk and departure that even fans find unsettling. As with any director known for a strong personal voice, expanding into franchises so closely tied to other artists—like Tarantino and Hwang Dong-hyuk—may not translate seamlessly. Swapping creative visionaries often alters the chemistry that made the originals special.
“David Fincher is a great director, but it feels wrong that Quentin Tarantino isn’t directing the Once Upon a Time in Hollywood sequel himself.”
—excited for fincher, commentator
Some observers speculate that Tarantino’s self-imposed limit of ten directed films has opened the door to this unique collaboration, but not without reservations. With Tarantino’s planned tenth film, The Movie Critic, abandoned, the Cliff Booth project may serve as a substitute, an opportunity for the world to revisit 1977 Hollywood—albeit through Fincher’s lens. Meanwhile, Squid Game: America faces parallel scrutiny; while there is confidence that Fincher can deliver quality, some fans remain nostalgic for the original creator at the helm.
Throughout all these changes, the risks Fincher is taking with these Netflix franchise projects could reshape the boundaries between auteur filmmaking and blockbuster franchise expansion. Whether these films and series preserve the spirit of the originals or chart entirely new creative territory, their outcome will have a significant impact on Fincher’s ongoing legacy and on how future collaborations between acclaimed directors and franchises are approached.
