Sydney Sweeney inaugurates the post-woke era of Hollywood
Nobody would bet on an erotic thriller starring a maid in 2025, but ‘The Housemaid’ has shown that Hollywood can still surprise when it recovers genres that seemed buried. The film directed by Paul Feig has raised more than 137 million dollars against a modest budget of 35 million, becoming the unexpected success of Christmas. And that success says a lot about the political moment that Hollywood is going through. Immediate success. The success was so overwhelming that Lionsgate confirmed a sequel just 17 days after its releasesomething unheard of in today’s industry. The fascinating thing is that ‘The Maid’ does not invent anything: it unapologetically recovers the recipe of the nineties erotic thriller with its triangle of sex, money and deadly secrets. As Some critics have pointed out the film “proves that dead Hollywood genres still have life” if executed with conviction. For Sydney Sweeney, this triumph is especially significant after the failures of ‘Christy’ and ‘Eden’, which They threatened to derail his career just when he seemed to begin to establish himself as a star. Anatomy of an extinct genus. The erotic thriller was born as a mass phenomenon in 1987, when ‘Fatal Attraction’, with Glenn Close and Michael Douglas, raised more than 320 million dollars and spent eight weeks at number one at the box office. Five years later, ‘Basic Instinct’ raised the stakes with Sharon Stone and again Michael Douglas throwing us some of the most high-voltaic scenes ever seen on screen. It raised 353 million. He secret of the formula It was a mix of noir classic and explicit sex, with luxury mansions, a reformulation of the trope of femme fatale and continuous plot twists. The death of the genre. The fever unleashed an avalanche of more than 700 movies direct to video between 1985 and 2005, while screenwriters like Joe Eszterhas (of ‘Basic Instinct’) became millionaires. At the end of the nineties, the genre collapsed due to market saturation and because The arrival of the Internet democratized access to pornographyeliminating the need to look for eroticism in cinema mainstream. Until now there has been no possibility of resurrection for the genre because the post-cultural cultural changes#MeToo They made the genre’s tropes (dangerous women punished for leading uncontrolled, unconventional and, above all, undomesticated) sexual lives problematic. The (boring) icing on the cake: Hollywood reoriented its films towards family franchises that could be sold in conservative markets like China. Perpetual recycling. The film industry works like a cemetery with revolving doors: genres never completely die, they just hibernate, waiting for their moment. Romantic comedies seemed extinct last decade, victims of Marvel, until Sydney Sweeney herself raised $220 million in 2023 with ‘Anyone But You’. We have seen it before countless times: ‘Django Unchained’ became the the highest grossing western in historyand from those muds these ‘Yellowstone’. The musicals returned with ‘La La Land’ in 2016, and there we have its successor ‘Wicked’ as one of the sensations of the moment. For its part, nostalgia for modest budget horror It has gone from fashion to phenomenon. The cycle of life. And the pattern repeats itself: a genre is born, reaches saturation, collapses due to excess and exhaustion of the formula, disappears for 15 or 25 years, and is resurrected when a new generation rediscovers it without the negative stigma of saturation. The key is about creating hybrids that incorporate contemporary sensibilities into classic DNA, and streaming has accelerated this process, as platforms like Netflix allow experimentation outside the traditional systemwith less financial risk, since it can refer to niches that traditional studies ignore. The post-woke moment. December 2024 marked a turning point when two major publications (The New York Times and The Telegraph) simultaneously declared that Hollywood had entered a “post-woke era.” The NYT article was especially blunt in dismissing the last decade of diverse stories, celebrating that “we no longer have to pretend to like something just because it has the right politics.” The 2025 box office data confirms the diagnosis: the productions that have triumphed at the box office (‘Lilo & Stitch‘, ‘Zootopia 2’, ‘A Minecraft movie‘, ‘Avatar 3‘) are absolutely harmless in that sense. ‘The Assistant’ is a twist that goes even further in this trend. The film recovers archetypes that the era of political correctness had left behind: femme fatale seductive without feminist justification, explicit sexuality without any type of pedagogy, class conflict dressed in the garb of a thriller without a message. There are no characters written to capture demographics, just a dirty story (with no minority representation) about money, power and betrayal. Sweeney’s presence, raised a few months ago as anti-woke icon It’s not exactly coincidental. The lesson of the market. ‘The Housemaid’ confirms that what is old is new again when the public is hungry for something that the industry no longer offers. The female audience (which represents more than 55% of viewers of the film) has shown that there is a demand for sophisticated adult content that is not superheroes or family animation. While ‘Avatar 3’ and ‘Zootopia 2’ dominated with budgets in the hundreds of millions, ‘The Housemaid’ billed 133 million occupying a space without competition. The question that remains is whether we are facing a structural change or simply another passing cycle. Sydney Sweeney accumulates now three consecutive years with at least one commercial success per year (‘Anyone but you’, ‘Immaculata’, ‘The maid’), which suggests that he has found a formula. If ‘The Housemaid’s Secret’, the sequel, generates a viable franchise, it will have managed to revive a dead genre. Hollywood Cemetery, after all, has always been more of a warehouse than a definitive grave. In Xataka | We Spaniards have stopped watching TV, going to the cinema and reading books: the only thing that interests us is going to concerts
