And as a bonus, that would ensure that Banks’ film would have a better chance of materializing, as it would be continuing what’s been established.
As the man has expressed reticence to revisit previous successes, such as Saw and Upgrade, it’s probably not a good idea to press him for the next chapter.
So rather than pressure Leigh Whannell for a film that, frankly, he doesn’t seem ready to dream up at this point, Elizabeth Banks’ The Invisible Woman presents the potential for Universal to keep the party going without pressure on Whannell to perform.