This is what Hollywood saturation model seeks

We know that feeling: Pedro Pascal seems to be appearing in all the films of the world. In all important, at least: you just saw it in ‘The Last of Us‘And you already have it in’The fantastic 4‘. And within nothing, in the movie of ‘The Mandalorian‘. And the worst thing is not that it comes out in movies and series, it is that it continually jumps on the Internet: microvideos, spots, interviews, viral. And paradoxically, guilt is not yours, but how Hollywood works today.

An busy man. Let us recognize that Pascal is an authentic stove of acting, and since he rose in ‘Narcos’, he has not stopped chaining important roles: from 2019, ‘The Mandalorian’ (although he did not see his face), three series in 2021, ‘The last of us’ since 2023. And in cinema, three films in 2022, five in 2024 ‘Gladiator II‘), three in 2025 (the new of Ari Aster, the commented – Spain arrives in August -‘ materialistic ‘and the aforementioned’ the fantastic 4). And for at least 2026, he plans his interventions in the Star Wars and Marvel franchises.

Why everywhere. Pascal’s career lives a “global star” effect thanks to being present in those three great franchises of the moment (Marvel, ‘Star Wars’ and ‘The Last of Us’). Thus it has become one of the most recognizable and popular faces of the industry, and it is not the result of chance, but a combination of indisputable talent and a natural charism that makes him connect with the audience both on screen and outside it (that’s why we are also seeing it in ads such as Apple’s directed by Spike Jonze). His sense of humor It has generated genuine empathy, contributing to a nearby image.

Franchise world. Hollywood lives immersed in a production model that tries to reduce financial risks by force of Set off any glimpse of experimentation. The huge production costs force great studies to focus on established franchises, something that the box office supports with results as clear as last year, where The ten higher films were all sequelsremakes and derivatives. And therefore, actors like Pedro Pascal They become omnipresent: They embody characters in these universes and acquire enormous visibility by becoming key pieces.

Saturation logic. The promotion of these franchises has evolved towards a model of Constant presence in all channels. Studies use aggressive strategies (Fragmented interviewsstaggered content launches, incessant activity in social networks like Tiktok, Instagram and YouTube) … what makes The public can perceive that they are receiving without stop stimuli related to franchises. The great injured are actors like Pedro Pascal, giving the feeling of appearing everywhere but unable to control that cadence.

Lack of relief. Parallel to this logic of maximizing the exposure of the IP to keep it alive we have another phenomenon: there are no generational relays among the interpreters. Of course, there are new young actors, but many young actors They leave the industry due to lack of opportunities. The Post-pandemic austerity policy It prevents us from living phenomena such as those of the 80s, the 90s or the first two thousands, when they walked from young actors led each generation. As a producer affirms in This article The Hollywood Reporter, “Hollywood has spent too much time making franchises the star instead of building the next talent generation. We have not encouraged writers to create vehicles that generate stars.”

The lack of risk on the part of the producers also affects this issue: they want the delivery to be full of safe values, without space for doubts. Always the same, always Pedro Pascal.

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