Eric André is resurrecting his experimental musical project, Blarf, with a latest album titled Film Scores For Films That Don’t Exist, slated for release in May. The album, inspired by iconic composers like Ennio Morricone and Vangelis, follows Blarf’s 2019 debut, Cease &. Desist, and is already teasing tracks like “What’s For Dinner.” This isn’t just a quirky side-hustle for the comedian; it’s a pointed commentary on the current state of intellectual property and the commodification of artistic expression.
The Anti-Franchise Statement
André’s Blarf project has always operated on the fringes, a deliberate act of resistance against the relentless franchise-building that dominates modern entertainment. While Disney and Warner Bros. Discovery are locked in a perpetual arms race to control the biggest IPs, André is composing scores for…nothing. It’s a brilliant, subversive move. He’s essentially creating value where none is expected, a direct challenge to the notion that everything needs to be tied to an existing property to be profitable. This arrives at a particularly interesting moment. We’re seeing “franchise fatigue” become a real concern, with even established behemoths like the Marvel Cinematic Universe showing signs of slowing down at the box office. Bloomberg reported on the growing audience apathy towards superhero saturation just a few months ago.
The Bottom Line
- Blarf’s new album is a satirical jab at the IP-obsessed entertainment industry.
- The project highlights the growing consumer fatigue with endless sequels and reboots.
- André’s approach could inspire other artists to prioritize originality over pre-existing properties.
The Berklee Connection & the Rise of the Composer-Comedian
André’s background isn’t just in comedy; he’s a trained musician, having studied upright bass at Berklee College of Music. This isn’t some amateur hour experiment. He understands the technical aspects of composition, which lends a surprising level of sophistication to Blarf’s chaotic soundscapes. This represents a trend we’re seeing more of – comedians leveraging musical talent to expand their creative reach. Think of Bo Burnham’s critically acclaimed Inside, or even the success of Flight of the Conchords. But André is taking it a step further, actively deconstructing the very idea of a “film score” by removing the film itself.
Here is the kicker: this isn’t just about music. It’s about ownership. The current system heavily favors corporations and rights holders. Independent artists struggle to navigate the complex web of licensing and copyright. Blarf, by creating scores for nonexistent films, sidesteps those issues entirely. It’s a radical act of artistic freedom.
Streaming’s Role in the IP Grab
The rise of streaming has exacerbated the IP grab. Platforms like Netflix, Disney+, and Max need a constant stream of content to justify their subscription fees. This has led to a relentless pursuit of established franchises, often at the expense of original ideas. The Verge detailed this very issue late last year, highlighting how streaming services are increasingly reliant on recognizable brands to attract and retain subscribers. André’s project, in a way, is a counter-programming move. It’s a reminder that creativity doesn’t require a pre-existing universe.
But the math tells a different story, at least for the major players. The cost of acquiring and developing original IP is astronomical. It’s often cheaper to simply reboot an existing franchise. This is why we’re seeing so many remakes and sequels. Yet, as audiences become increasingly jaded, the returns on those investments are diminishing.
The Expert Take: A Commentary on Value Creation
“Eric André is tapping into a very real anxiety about the commodification of everything. We’ve reached a point where even nostalgia is being packaged and sold back to us. Blarf is a playful, yet pointed, critique of that system. It’s a reminder that art can exist outside of the capitalist framework.” – Dr. Anya Sharma, Media Studies Professor, UCLA.
And it’s not just about the big studios. The music industry is facing similar challenges. Catalog acquisitions are rampant, with companies like Hipgnosis buying up song rights at a furious pace. Billboard has been closely tracking these deals, noting the increasing pressure on artists to sell their catalogs for quick cash. André’s approach, again, is different. He’s creating new value, rather than simply repackaging old assets.
Data: Streaming Service Content Spend (2023-2024)
| Streaming Service | 2023 Content Spend (USD Billions) | 2024 Projected Content Spend (USD Billions) |
|---|---|---|
| Netflix | 17.0 | 17.5 |
| Disney+ | 27.0 | 25.0 |
| Max | 18.0 | 16.0 |
| Amazon Prime Video | 16.0 | 18.0 |
Source: Statista (Data as of March 2024)
Here’s where things obtain really interesting. André isn’t just a comedian or a musician; he’s a brand. His unique brand of absurdist humor has resonated with a large and dedicated fanbase. This allows him to take risks that other artists might not be able to afford. He’s built a reputation for being unpredictable and subversive, and his audience expects nothing less. This is the power of creator economics.
Film Scores For Films That Don’t Exist isn’t just an album; it’s a statement. It’s a challenge to the status quo. It’s a reminder that creativity can thrive even in the most commercially driven environment. And it’s a whole lot of fun. The question now is: will other artists follow suit? Will we see a wave of “anti-franchise” projects emerge in the coming years? I, for one, am hoping so.
What nonexistent film score are *you* hoping Blarf tackles first? Let’s discuss in the comments below.
