I like to see a return to technicolor vibrancy in some media IP. Some directors, like PTA, still use it to great effect, but when you watch some old Powell and Pressburger films, or Bad Day at Blackrock, or even Purple Noon, you see these beautiful colours that don't assault your eyes in neon brightness; instead, you get these beautiful rich tones that seem solid and deep. It seems like now a lot of colourists just go for overwrought colourgrading, insanely crushed blacks, or slamming a movie into blue-orange land.