Previously on Midlife Crisis Crossover: everybody loves John Wick! Keanu Reeves and director Chad Stahelski turned a peculiar crime drama about one retired assassin’s vendetta against the whelps who killed his dog into a billion-dollar stunt-spectacular franchise. Naturally Lionsgate Films wants more of those sweet Wick-bucks, but they made the mistake of letting the team end John Wick: Chapter 4 on their own terms, in a manner both satisfying and dramatically inevitable, yet counterproductive to sequelizing with any real integrity. That means it’s time for inferior spinoffs with diminishing returns!
Setting aside a mostly forgotten comics miniseries, the first screen-shaped ancillary product off John Wick: The IP Assembly Line was the dreadful Peacock miniseries with the cumbersome title The Continental: From the World of John Wick, a prequel that gave Ian McShane’s dark hotelier Winston Scott an unnecessary secret origin and gave former star Mel Gibson another stop on his post-cancellation comeback tour. For some reason its showrunners thought Wickworld needed the longer, slower, duller streaming-era treatment set in the Blaxploitation days with none of their vibe, wit, or pulse. Having learned a lesson, the studio went back to the drawing board and thought: what if our next cash-in product had a protagonist who could actually fight their own gun battles?
Hence our next would-be successor: Ballerina! At least, that’s what theater marquees call it. Officially it’s From the World of John Wick: Ballerina, a wretched title concocted by some marketing orc who never had to alphabetize a movie shelf. Someone in charge really thinks “From the World of John Wick” is a catchphrase they should never let go. Who knows how many marginally less unsightly titles were discarded — John Wick Presents Ballerina or John Wick’s Gal Pal Ballerina or John Wick! Now That We Have Your Attention, Here’s Ballerina. So, for posterity shorthand, Ballerina it is.

