As a film enthusiast, I must confess that the “Fast and Furious” series has always pushed boundaries, but the leap into space with “F9” was a pivotal moment for many fans, resembling the iconic act of jumping a shark in TV shows. The franchise’s roots were firmly planted on the street-level world, as depicted in the original “The Fast and the Furious.” However, over time, these movies have grown exponentially in scale and absurdity, transforming into globetrotting espionage adventures that seem almost unrelated to the relatively modest first installment. While there was a certain thrill watching the series become more and more outlandish, it appears that “F9” may have reached a point of excess that left fans feeling a bit overwhelmed.
In many film series, there comes a time when events become so outlandish that they lose touch with reality for the audience. This phenomenon is often referred to as “jumping the shark,” derived from an episode of the popular 70s sitcom Happy Days. The Fast and Furious movies, with their growing absurdity, appeared impervious to disappointing fans. However, when Tej (Chris “Ludacris” Bridges) and Roman (Tyrese Gibson) transformed a regular car into a spaceship and flew it out of Earth’s atmosphere in F9, some might argue that this was the moment they “jumped the shark.
Tej & Roman Going Into Space In A Case Was One Step Too Far
The Fast And Furious Franchise Went Into Space And Left Reality Behind
Over time, as the Fast and Furious films grew more and more outrageous, there was a persistent jest that the series would eventually need to venture into space to surpass its own absurdity. In the movie F9 , this joke was addressed by creating a plot where Tej and Roman equipped a Pontiac Fiero with rocket engines, attached it to an aircraft that soared into the stratosphere, and destroyed the villains’ satellite.
What’s significant to remember is that fans often viewed the idea of expanding the franchise into space as a jest. It’s become almost a cliché for a movie series to run out of fresh ideas and then introduce a space element, but this move is usually met with skepticism. For instance, films like “Jason X,” “Moonraker,” and “Leprechaun in Space” are often cited as examples of this trend. The creators of the “Fast and Furious” franchise seemed not to realize that by actually venturing into space, they were pushing the series beyond a point of no return.
In these movies, Dom transitioned from a street racer with roots in reality to a character resembling a superhero more than ever. Yet, the Fast and Furious series generally maintained a connection to reality. The idea of going into space, though amusing at first, eventually made things seem too exaggerated or cartoonish. Similarly, Han’s comeback in F9 is like the franchise giving in to fan desires without fully considering the potential harm it could cause to the overall narrative.
Fast & Furious Has Nearly Jumped The Shark Several Times Before
The Series Is Known For Going Over The Top
The Fast and Furious series may have been gradually approaching its “jumping the shark” moment for quite some time, but it was arguably in “Fast and Furious 6” where the films began to disregard the principles of reality more noticeably. This is evident in the over-the-top plotlines such as Letty’s return from the dead with amnesia, and Dom’s daring stunt of leaping from a moving vehicle to catch her mid-air.
| Movie | Budget | Box Office (Worldwide) |
|---|---|---|
| The Fast and the Furious | $38 million | $207 million |
| 2 Fast 2 Furious | $76 million | $236 million |
| The Fast and The Furious: Tokyo Drift | $85 million | $159 million |
| Fast & Furious | $85 million | $360 million |
| Fast Five | $125 million | $626 million |
| Fast & Furious 6 | $160 million | $788 million |
| Furious 7 | $190 million | $1.5 billion |
| Fast & Furious Presents: Hobbs & Shaw | $200 million | $760 million |
| The Fate of the Furious | $250 million | $1.2 billion |
| F9 | $200 million | $726 million |
| Fast X | $340 million | $714 million |
Looking back, those instances seemed relatively subdued compared to the over-the-top actions in “Furious 7,” which escalated this kind of extreme action, such as Dom and Brian leaping a car from one building to another and parachuting cars out of an airplane. It’s plausible that F9 would have been perceived as a turning point for the franchise in terms of absurdity, even without the space sequence. The narrative also drew inspiration from soap operas, with the complicated reappearance of Han and Jakob Toretto being unveiled as Dom’s long-lost brother. The scene of Dom tethering his speeding car and swinging across a canyon also garnered criticism.
It’s been suggested that the last Fast and Furious film might revert to its original street-based themes as a fitting conclusion for the series. Yet, with Gal Gadot’s character Gisele coming back in Fast X, it appears they’re not shying away from the over-the-top elements. Despite fan desires for a more low-key approach, the space mission in F9 makes it challenging to envision a shift towards smaller scale productions.
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2025-06-05 03:10