Safety and mass-market appeal over creativity.
For contrast: Books, non-AAA video games, and movies from smaller studios still produce high-quality, creative efforts I continue to be excited about. Big-budget movies (and games), and Netflix shows are mostly bottom-feeder stuff.
I checked what was playing and:
2 tickets, 2 sodas, 1 popcorn.
$86 dollars.
Don't know if I'll ever go to a conventional movie theater again.
> North Americans are going to the movies about half as often as they used to a decade ago, based on the number of tickets sold at cinemas in the US and Canada.
50% down in just 10 years is massive.
Thankfully, filmmaking is becoming more and more independent. It's never been easier and cheaper to make a movie and share it to millions of people on YouTube or Vimeo. Why go through Hollywood, investors, or give money to festivals for a chance at success when you can just upload the thing and see what happens?
Market forces know no culture except what consumers pay for. Absent real care, stewardship and focused investment, the product will always get cheaper.
And of course consumers' tastes are under attack from another direction: their attention spans.
Some load-bearing pillars of human culture are weakening.
If they want theaters to come back then they’ll have to put movies behind a paywall again.
A few movies we watched are not worth the money. To stay afloat they have to raise ticket prices, but if we’re paying so much, the movie better be absolutely outstanding, and the are just not usually, so we stopped going.
My last week may be an indicator. I've watched zero TV or movies but have spent about 40 hours helping a small colony of scrappy hard working beavers survive on post apocalyptic earth. Steam got my money, Hollywood didn't.
This is the endgame of the feedback loop of streamers causing industry consolidation... the direct connection of dollars people spend to sit in a theatre seat was slowly declining, but now I think it's gotten so small that it no longer matters- and once the whole box-office feedback loop disappears a lot of the economics of how films are produced are being forced to change.
One of the reasons that people have loved to make fun of Hollywood for literally it's entire existence (besides the fact that the meta talk is self-indulgent artist stuff) is that making movies with so much money and waste is fundamentally ridiculous.
The optimistic viewpoint is that maybe new AI production tools will trigger a re-democratization of creative movies in the next wave, like in the 70s and the 90s indies.
Hollywood is so used to getting high on its own supply that it really thinks we want to see an AI slop video of Brad Pitt fighting Tom Cruise. People there just don’t have any information at all about what anybody outside their bubble thinks so of course they make samey big budget pictures and samey small budget pictures. Unless they shut down their communications channels and disperse geographically they are going to keep doing the same thing over and over again and be wondering why they keep getting the same results.
And that gets us to why they will never reform, they know their numbers are terrible but think this is (1) cyclical and (2) due to technological changes so they’ll never get it that running ads that make it sound like somebody else cares about Tom Cruise doesn’t really make people care about Tom Cruise, it just makes them ignore advertising messages.
- Scripts that sound more like an HR meeting than a good story.
- Blockbuster superhero movies that are all the same movie.
- Lots of remakes that added modern CGI flare and destroyed the artistic value of the original.
- As consolidation of studios happens, way more "safe" stories that aim to not offend anyone. I think the only one able to get away with it right now is Tarantino.
Prices, streaming, theaters, etc. -- they're all accessory to the problem. People went to the movies for enjoyment, why would they go to endure them? There's no cultural collective experience anymore in the sense of going to see Lord of the Rings or Matrix with your friends for the first time.
Also this is happening throughout all media. Music and video games have the same kind of discussions.
>Starting in 2029, the Oscars will also be streamed globally on YouTube, which the academy hopes will attract new audiences and reinvigorate the ceremony’s popularity after years of declining viewership.
Edit: I read 2019 not.. 2029. That's actually incredible. Are they going to get in on tiktok for 2039 next?
- Box office optimizes for novelty, streamers optimize for "don't churn" - very different criteria for investment.
- Disney cannibalized the box office with Marvel Star Wars, which killed the mid market and killed innovation. This is your point. Disney's success and tentpole successes in general killed innovation and diversity and made the market more winner-takes-all. Comedy movies barely exist anymore. There are few $50-75M films now. Little original content. Now films are engineered for maximum audience penetration and maximum box office revenue. This changes how films are written and who they are written for. The answer is "everyone", and that means "safe", "predictable", and "repeatable". No gambles. Everything else has to fight for table scraps.
- End of ZIRP puts us back in 2000. Money used to be free. Now it's expensive. It's not as easy to underwrite productions anymore. Less innovation.
- Dopamine machines fit into your pocket and suck up time and attention. Gaming is also huge now. Less people going to the movies because plenty of alternatives exist.
- The $400 80'' plus Netflix versus the expensive theater, concessions, and rude people have made theaters unattractive. Theaters are where film margins come from. Without that revenue, expensive movies will be scaled back.
- Labor costs less in Europe and Asia, even with ample tax subsidy. The LA and American jobs and infrastructure are drying up. These are lifelong careers that are ending.
- Global audiences want global stories. American culture isn't local, and local talent can now make high quality productions. Asia is turning out banger after banger.
- Youth want youth mediums. Movies feel slow and boring. TikTok is where it's at.
- AI is now a thing.
All of the fundamentals have changed.
I will debate one point you raised:
> most-attractive people
Most people prefer to look at attractive people. It's an almost universal preference. Tried and tested throughout time. In film, those attractive people also need charisma.
Obviously.
Books are a great example - even popular books will now have a readership in the tens of thousands, at most. Nobody makes money - it’s an art, not an industry.
So people are much more risk adverse. I've never understood why they don't do tiered pricing based on the type of movie it is. If it's not a mega blockbuster type film, reduce the price a bit to make it easier for people to take a risk and try out a movie without it being a 90%+ rating on rotten tomatoes. I'd personally probably go a lot more if a movie like say Marty Supreme was $10 instead of $20.
Partially, but a massive issue has been the offshoring of Hollywood [0].
UK, Canada, EU states like Ireland and Poland, and others match dollar-for-dollar in subsidizes to incentivize local production, and factoring in lower salaries are able to outcompete even Georgia.
After COVID and the WGA/SAG-AFTRA strike, production completely left Hollywood.
Film production is high risk and expensive, so margins really matter, so the double whammy of the COVID shutdowns and then fhe WGA/SAG-AFTRA strike became existential.
California has been trying to reincentivize onshoring [1], but it's too little too late. Hollywood even lobbied the Trump admin [2] for a 100% tariff on foreign produced films [3] which more diversified media companies pushed back.
[0] - https://milkeninstitute.org/content-hub/research-and-reports...
[1] - https://www.politico.com/news/2025/06/06/gavin-newsom-hollyw...
[2] - https://www.politico.com/news/2025/10/15/hollywood-lobbying-...
Meanwhile consumers are whining about the increases in streaming cost and diffusion, and low quality content. It had to happen, the math wasn't working out. In the social media bubbles users argue they will "just pirate again", over and over as though those who would care to don't already do so. Its toothless. Average people are not going to pay for a VPN and navigate things they don't understand just to pirate. They will eat the cost, whether it be streaming or renting
If you want to make a movie staring Nicole Kidman, you have to pay whatever Nicole Kidman wants you to pay. You're legally forbidden from hiring an "off-brand" person and making her look indistinguishable from Kidman.
If you want to hire a Scala programmer, there's plenty of easily-replaceable people willing and able to do that job. No single person dictates how much money Scala programmers make.
Famous actors are basically a category that they're the only member of, and so they can set their prices. You can switch to a different category )(just as you can switch from Scala to Typescript) if one becomes too expensive, but that too carries some expense.
Franchises have a similar problem. If all your friends are watching Game of Thrones, you too want to watch Game of Thrones, even if there are other shows which are just as good. This means the Makers of GoT can dictate GoT prices, because the government gives them a legal monopoly on GoT distribution.
The original Top Gun (1986) was describe at the time as the US Navy's most successful recruiting campaign ever, noted in this 2004 account citing 1990 correspondence with then Secretary of Defence Dick Cheney: <https://archive.org/details/operationhollywo00robb/page/180>. Similarly endless war, cowboy, biblical, and rom-com films of that period.
The market-clearing price is nearly zero except for some new releases. Oppenheimer was sold out in its first weekend, for example.
Anyone who went to movies before about 1999 remembers them being a lot more popular.
For any normal movie I'd rather just watch it from my couch. But for the once in a while, over the top, blockbuster I'll still go to a theater.
So the theatres stay alive by selling concessions.
I'd wager everyone here complaining about prices would also wax poetic about how theatres don't "pay a living wage" to the kids scooping popcorn and would immediately drive home in their $100k Rivians or Teslas so they can give a one star review on Yelp or complain on Reddit about the bathrooms or floors being dirty or sticky.
These same people wouldn't bat an eye at paying $14 for a food truck grilled cheese and leave a tip.
You can't have it both ways.
Presently, we watch foreign movies at home 95% of the time and maybe a Hollywood production when they manage to find their roots and create something worth watching.
EDIT: I was going off of memory, but matinee/child/senior pricing is apparently $9.75 at the theater I usually go to, evening is $13.25 (I never go in the evening, had forgotten what that price was). They have a two drink and popcorn combo for $22.10. So the worst case of evening prices (again, not considering IMAX, just regular screens and seats) for two with that combo is $48.60. That's not cheap, but it's not $86 either. And if you're willing to share the drink and go to a matinee you can cut the price to $34.80. This is a Cinemark, a pretty big theater chain.
Popcorn cost basically nothing to make at home, especially if you buy the raw kernels and pop them yourself, and I can rent a 4k version of a movie for like three dollars on Amazon. My 85" 8k TV cost me $1200 (refurbished, but still). For the cost of going to the theater with my wife 15 times, I can buy that TV to watch movies but also use that same TV for many other things.
Even cheap shitty TVs are pretty ok nowadays, certainly better than the stuff when I was a kid, and after I have to question the point of going to an expensive physical theater where there's a risk of some teenagers talking over the movie and I can't pause if I need to use the bathroom. The theaters might not like it, but regardless of whether its fair, they are competing with TVs now.
I haven't been to a movie in a theater in at least 10 years.
As a kid who grew up in 90’s I would say it is easily better than what cinema had back then.
I don’t have that high expectations of sound/video as many people will point out that streaming kills the quality but for all its worth still much better than what I need to enjoy a movie.
If all of those things are true, then the conclusion is that theaters can’t operate in a way that wins my business. That would be unfortunate, but it’s not contradictory. It also seems to be that pretty much true, as I see a movie in a theater maybe once a year.
This seems weirdly condescending, especially since I think these two things are very related.
There are two types of $14 food truck grilled cheese in my experience:
The first type is usually found at farmer’s markets or free city events where the cheese will be local and artisan, and the bread will be local and artisan, and it’ll be pretty freaking good, and remind you that you can make incredible food with simple ingredients.
The second type is where there’s a captive audience, like a music festival or a brewery patio. This is no free market: you are hungry, and you’re about to be exploited.
I find American society increasingly reflected in the second type of $14 grilled cheese. Movie theaters, sporting events, music events, video games, tipping culture, hidden fees, etc. etc. Exploitative business practices to extract profit at the expense of the customer. It’s like walking around being shown the middle finger at all times. And people complain about the breakdown of the social contract…
I enjoyed each one in the theater but I tried watching Avatar: The Way of Water at home and despite having an entire media room devoted to good sound, proper lighting well calibrated projector and such it was not all that great. The movie fell a little flat without the theater experience to go with it.
I saw the limited run in advance to the 3rd one coming out in theaters again and it was good in that setting, as a reference point for my experience
And then wonder why people don't go to the cinema and wonder if they can increase the amount of ads to compensate...
IMAX opening week is a lot, $25-35. After a while it can drop to $20 or so. Regular is more like $20-25 opening week and drops to $12-15.
I don't bother with popcorn and soda, it's grossly over priced. Like $10 for a small popcorn the size of a pint. I buy a 0.5L bottle at the grocery store next to the cinema and some M (our M&Ms), maybe $10.
Though lately I've been going a lot to the local cinemateque. Not only are tickets around $7 regardless, they mostly show classic movies so seldom worse than the new stuff. They show popular movies too, recently saw Heat there, first time I saw it at the big screen since the premiere. Still packed a punch.
7 dollar tickets I haven't seen since elementary school
At Sundance you could stay in Salt Lake City or Heber City and have fun. Free busses.
Oscars are not about the arts, nor about quality. Never was.
Although, I’ll admit I go way less often than two years ago when I was full time WFH. Which begs the question if I just went for a reason to leave the house
It can, sure. However, I will not pay to be lectured to on topics I have no interest getting lectured on. I'll keep my money, they can keep the sermon. Let's see who has more to gain from listening to the other. If they want my money, what I want to hear/see matters a whole lot more than what they want to preach to me.
They simply forgot the golden rule: he who has the gold -- makes the rules. Let them rediscover it.
It cost me 50 eurodollars for two tickets. And people complain Netflix is expensive!
90% of any content is crap but you're missing out if you like movies and you haven't seen Sinners, The Bone Temple, or NOPE (to name a few recent great theatre watches).
Movie theatres hardly make any money from ticket sales with 80% of the ticket price going to the studio during the first two weeks and then declining. They make money off of concessions
It's hard to compete with millions of videomakers, some of them extremely skilled and able to produce interesting content on a budget.
Everything changes and evolves. Fashion, music, games, young adult fiction, memes.
You wouldn't limit yourself to your grandparents' taste, would you? (I didn't say parents because some kids are instilled with parental preferences. I grew up around kids in the 00's who said the Beatles were the peak of music - obviously learned preferences straight from their parents.)
You might not understand youth culture because you grew up before them and have different tastes. We're imprinted with preference and nostalgia for our youth, and we can see changes to that as a hideous affront. The next generation is meanwhile going through the same cycle we did.
With the high quality cameras and drones at approachable prices, it's amazing to watch individuals create videos at such high quality but also has a bit of that DIY vibe that makes it more relatable and enjoyable.
My current fav is watching 4X4 overlanding videos of people driving along some stunning landscapes.
The video you are referring to was not produced by Hollywood, it was created by Irish director Ruairi Robinson, basically as a test of the new Seedance AI.
I'm not saying that Hollywood isn't out of touch, I'm just saying that nothing about Hollywood can be inferred from that video.
what are the other cheaper options? going to free parks and museums? i am sure going to free museum will be a big hit with the kids :]
Is this true, or you just can’t discover them anymore because everything else competes for your attention? Arguably in the last decade more great content in both movies and TV shows produced than ever, it’s just so much, that it’s hard to choose.
I suspect the problem with AAA games is the same one movie studios face; mass-market appeal and profit-driven-design degrades the experience.
We should just have all White males leading movies
What are you paying when you go to the cinema? Just went to the cinema today to see Hoppers, and was slightly surprised that the tickets were only 8 EUR per person, then we spent maybe 5-10 EUR per person on snacks too, so ended up paying maybe ~15 EUR per person overall. This was outside a metropolitan city in South-Western Europe, maybe that's why, or I've just lost track of what's expensive/cheap.
While the streaming business led to a growth of the movie industry, pre Covid and pre strikes at least, it's difficult to compete when millions of people can produce good content for low prices.
On top of that, it doesn't help that movies stopped innovating, 2025 box office was entirely dominated by prequels and sequels.
I don't care about avengers, I really don't, the first bored me enough.
Hollywood is a factory town at the end of the day, and we all know what happened to most factory towns in America. This one is just getting there a few decades after the others.
Combined with streaming, there's just an overabundance of "good enough" content at everyone's fingertips. The moat that protected big-budget feature films is gone. You don't see a trailer for a movie and salivate and wait for it to come out, it just blends in to the stream of 5000 other things you can watch right now.
I don't think so.
Part of the downfall of movies -- blockbusters movies anyway, the kind where being a box office hit matters -- is that they have seemed produced like AI slop even before AI. Making it easier to produce more slop isn't going to fix this.
Then there's one thing making noise in my brain. It's not polite to say it, but here it is anyway: should movies be democratized? And art in general? Maybe people without the means of making art that reaches millions shouldn't be enabled by AI. Maybe it's ok that not everyone can produce this kind of art. Maybe the world is saved from a crapton of, well, garbage. More than what's currently being produced, anyway.
As for non-blockbuster art, it's already democratic. Everyone can grab a phone camera or a paintbrush and create art for their friends and family. And that's ok.
You could say there hasn't been any good new music since 1970 and humans have been making music for thousands of year. Or you could try out the many new genres and eventually find something new and exciting.
it just seems like a very boring way to live out your life.
the artisan grilled cheese is better than a hotdog that’s been overheated for six hours with a stale bun, and stale popcorn with fake flavoring
I prayed it wasn't urine.
After all, they move 1s and 0s at the end of the day. No screens or customer-facing capital equipment to maintain outside of DCs.
That's not to say that all movies in this category are *only* worth watching in the theater like Avatar is. For instance I would have still enjoyed the recent Dune movies either way but they were a lot better with all the pomp & circumstance.
Or maybe it's just a horror/Marvel thing. Weapons and Endgame had a similar audience feel to Sinners and Black Panther.
Definitely not during Chris Nolan films. It's hard enough to hear his dialogue when it's dead silent.
The minimum wage for a cleaner is 46k per year ($23\h). And your boss better not try any shenanigans, because you're most likely unionized and shouldn't really be messed with.
I've found $18 ticket for opening week for Hail Mary in my city. Most of them were at $23, but that's for the premium sall, with shaking seats or other fancy stuff.
So a person with a job looked down upon in most other countries can still get one ticket for an hour of work.
Reason I've felt compelled to reply was because cinema tickets always felt cheap to me in Norway, compared to more like 2h of work for minimum wage worker in Poland where I originally come from. Compared to any other prices like $15 for a beer at a bar or $30+ for a bottle of vodka in the alcohol shop* they just always felt like a steal. YMMV OFC.
*Interesting trivia: The alcohol shop is called Vinmonopolet and it really is a monopoly. The only company allowed to sell alcohol above 4.7% is run by the state. They have shops in towns, and if you live far from one (like most of northern Norway past the polar circle) you're most likely getting your alcohol from homebrew mafia instead.
A group of young assistants from WME — the talent agency representing Martin Scorsese and Ben Affleck — were debating their career choices between rounds of bourbon and line dancing on a recent evening at the Desert 5 Spot bar in Hollywood.
“I got into this business because I love movies, but everyone is really worried that the movie business won’t exist anymore,” slurred one of the twentysomethings, who asked not to be identified sharing their thoughts freely.
For almost as long as it’s been around, the film industry has been pronounced dead before its time. The advent of television in the 1950s, the sale of studios to conglomerates in the 1960s, and the rise of video cassettes in the 1980s and streaming in the 2010s were all thought to be the nail in the coffin.
Now, as the Academy of Motion Picture Arts & Sciences prepares to hand out its highest awards to films and filmmakers on Sunday, the industry is once again awash in gloom. Morale has been battered by tens of thousands of layoffs, the exodus of production from California to lower-cost territories, the waning cultural relevance of cinema versus social media, declining attendance at theater chains and fears that artificial intelligence will displace traditional moviemaking.
For employees of Warner Bros. Discovery Inc., which has Sinners and One Battle After Another up for best picture, this year’s Oscar race has been overshadowed by rival Paramount Skydance Corp.’s $110 billion deal to buy the company. It’s the third time Warner Bros. has been sold in less than a decade.
In Sentimental Value, another one of the best picture nominees, Stellan Skarsgard plays an acclaimed Norwegian director whose new film is being made for Netflix Inc. When a reporter asks him if the picture will appear in theaters, Skarsgard’s character says, “Sure, where else?,” at which point his producer jumps up and says: “It’s still being negotiated.”
WATCH: Hollywood’s Unhappy Ending?
Consumers are spending more than ever on entertainment of all sorts, but less gets “filtered down to our members in terms of employment opportunities,” Oppenheimer filmmaker Christopher Nolan, the president of the Directors Guild of America, said at a February press conference. With guild-member employment down 35% to 40%, he called it a “very worrying time for the industry.”
Hollywood’s anxiety — the local industry’s challenges are often compared to the decline of automaking in Detroit — isn’t misplaced. The crisis has grown to such magnitude that last year, California doubled the annual assistance it gives to film and TV productions to $750 million to stop them from fleeing the state.
While that’s succeeded in securing the production of some big-budget films, including a new Jumanji from Sony Group Corp., there’s a bigger issue, as many studios are simply undertaking fewer projects. Studios are spending less on film projects since the actor and writer strikes in 2023, and some media companies are reallocating programming budgets to sports and live events.
ProdPro, an industry data tracker, said in February that sentiment among 850 crew members surveyed about their prospects for 2026 was generally more negative than in recent years, with sound technicians and dolly grips experiencing an average of six months of downtime between productions.
The decline has had a ripple effect on associated businesses. Earlier this year, Goldman Sachs Group Inc. seized the Radford Studio Center, a famed Hollywood lot whose owners defaulted on the mortgage. Arri Group, a camera and lighting supplier, cut jobs and closed two locations in Germany.
Even when films are produced and released in theaters, few draw crowds large enough to keep the industry afloat, let alone thriving. North Americans are going to the movies about half as often as they used to a decade ago, based on the number of tickets sold at cinemas in the US and Canada. At the same time, revenue from international markets such as China, long a cushion for any stateside softness, has become unpredictable, hurt by geopolitical tensions and more competition from local productions.
Those pressures, as well as the impact of pandemic shutdowns, have hurt theater chains including Regal owner Cineworld, Alamo Drafthouse, Ipic, Metropolitan, CMX and Look Dine-In, which all filed for bankruptcy in the past five years. AMC Entertainment Holdings Inc., the world’s largest cinema chain, has lost 99.7% of its value since the stock hit an all-time high in June 2021.
“The bottom line is that the theater business is in a very dark and troubled place, and the reality is you need people that are investing in the entertainment business,” Rich Greenfield, a media analyst at LightShed Partners, said in a recent interview with Bloomberg TV.
David Ellison — Paramount’s chief executive officer and the son of Oracle Corp. Chairman Larry Ellison — is pledging to invest. He’s seeking to release 30 films in cinemas annually from Paramount and Warner Bros. combined once his proposed deal closes.
Netflix Inc., which dropped out of the bidding for Warner Bros. in February, plans to increase its programming budget by about 10% to $20 billion this year.
Netflix, Paramount and others are also experimenting with AI in a way that could empower new kinds of storytelling. Lionsgate Studios Corp. has partnered with startup Runway AI Inc. to lower production costs, and Walt Disney Co. has signed a deal to license its intellectual property to OpenAI Inc., which developed the Sora video creation tool. Netflix is also paying as much as $600 million to acquire InterPositive, the AI moviemaking company founded by Affleck, Bloomberg has reported.
“While we can point to current indicators like job cuts or offshoring, we can also point to exciting developments as new story forms emerge,” Holly Willis, chair of the University of Southern California’s media arts and practice division, said in an interview.
For the cultural relevance of film to survive, the business needs to make inroads with younger, perpetually online generations. They’re used to accessing free content on social media platforms instead of paying for a movie ticket. Encouragingly, recent events and data show that the two are becoming complementary.
In February, Iron Lung, a $3 million film directed by YouTube creator Mark Fischbach, took in $51 million at the box office. Better known as Markiplier, Fischbach urged his followers on social media to see the picture in cinemas.
Starting in 2029, the Oscars will also be streamed globally on YouTube, which the academy hopes will attract new audiences and reinvigorate the ceremony’s popularity after years of declining viewership.
Credit: www.bloomberg.
Within 5 miles of me with 2 adults and 2 kids and $100, you could go to a trampoline park, ropes course, bowling, hours at an arcade, water park, race go-karts, several months of pool membership, or 5+ museums. Possibly 2 of those activities.
For free there’s dozens of playgrounds, courts and fields for any sport, community and religious-sponsored events, and after you can get a nice sit down meal with money leftover from your $100 budget.
$100 would be above many families entire entertainment budget for a week.
Sometimes, cultural decline actually does happen, usually eventually followed by some kind of renaissance. Anyone who has studied the cinema, literature, etc. of a certain country in the past knows that there are "hot" periods and "cool" ones. When we see this phenomenon in the past, it doesn't tend to trigger the same defensive reaction, I guess because it doesn't feel as personal.
That was the era of "every second counts." Every second has meaning and purpose and adds something to the narrative. The Fifth Element is another good example, and almost 30 years old. Now in the age of binging, where a 2 hour plot is stretched into 17 hours of TV, there is SO much filler and downtime and it's honestly just offensive in comparison.
I kind of enjoyed Pluribus, I liked the concept and what they did with it, but there's way too much forgettable filler that dilutes it into a slog. The movies I mentioned are (again, IMO) absolutely gripping and just lean and mean storytelling vehicles. Like it kind of reminded me that watching a movie wasn't just something you did leisurely while doing other things.
Not just comparable; easily greater than. US movie business has easily been more influential than Romanticism. That said... TFA makes undeniably valid points:
"Morale has been battered by tens of thousands of layoffs, the exodus of production from California to lower-cost territories, the waning cultural relevance of cinema versus social media, declining attendance at theater chains and fears that artificial intelligence will displace traditional moviemaking.
[...] this year’s Oscar race has been overshadowed by rival Paramount Skydance Corp.’s $110 billion deal to buy the company. It’s the third time Warner Bros. has been sold in less than a decade.
[...] Hollywood’s anxiety — the local industry’s challenges are often compared to the decline of automaking in Detroit — isn’t misplaced. The crisis has grown to such magnitude that last year, California doubled the annual assistance it gives to film and TV productions to $750 million to stop them from fleeing the state."
But it isn't. China and India are going gangbusters. Japan is thriving and doing strong work. Nigerian cinema is projected to hit 3 million ticket sales for the first time this year. The UK--is at least stealing work from Hollywood with tax breaks. Korea had a rough patch, which they turned around by doing more mid-market films.
The US studios problems are unique, which at least suggests that the answer lies in the failures of their leadership. Perhaps their long project of abandoning original mid-market films to push bloated huge special effects heavy franchises was ill-advised. It's almost Like having a portfolio of 10-20 reasonable original bets is better than investing everything in a single expensive "sure-thing" sequel it increasingly seems like no one actually wants to see.
So I agree that Hollywood has stopped innovating, but am dubious that any other problems has much to do with Youtube (as much as I enjoy YouTube).
Take apocalypse now: a great piece of art. Was it worth the pain and suffering of its production? Absolutely not.
Indie / small studios have an infinitely easier time going to market than one would with making a film or especially a TV series.
You just make an account on a platform, sometimes submitting some additional information and paying a small fee, and that’s it. You may not even need actors like for text based games (Shovel Knight, Balatro etc)
Movies is so much more. And the cost of production is higher.
Also, the other big thing to realize is by far what games many people play is dominated by a handful of highly successful live service games. I have friends who only play Fortnite and have for a long time. They don’t play much else other than a few casual games when they take small breaks from Fortnite.
It’s not universal but there is a reason they’re always top of charts for revenue. Millions play every day.
The one other thing I’ll say is that seemingly unlike other media there is enough sufficient customer diversity that one business model doesn’t completely choke off all other types. Look at Expedition 33 for example
In theory the union is the only org capable of standing up to the streamers' buying power, but it has to make sense within a business model where consumers pay one monthly fee for content. I'm not even sure what that really looks like in the end.
Maybe it's also that the FTC allowed all this monopolization to happen, and turns out that having three media companies in the US is bad.
Not true. Most media conglomerates own both video game and movie production. The big players like Disney, Sony, Comcast, Universal, etc all have ownership stakes in video game companies and most TMT funds invest in both as a same bucket.
And what's actually happening with AI? Someone mentioned in another submission that 7500 new books _per day_ are being released on Amazon Kindle. The wave of low quality AI submissions to HN was so severe that the HN mods had to restrict them. Whatever democratization is actually happening is drowned out by those taking advantage of the low cost of AI slop for profit.
I liked that theater because it was super cheap (like seriously $1.50 for a ticket because it showed out of date movies). One time when she and I were watching The Purge, I hear this kind of squishy noise from right behind me.
I turn around, and a guy is getting a handjob. I motion to my wife that we need to move a few seats over.
You know, The Purge isn't the worst movie ever but I gotta admit that it's not a movie that ever really turned me on either. To each their own, I suppose.
From that point forward we always called that the Handjob Theater.
Not everyone can become a great artist, but a great artist can come from anywhere.
It doesn't feel fully democratized because if it was, you'd see more indie things in this same format competing with "big budget" movies on the same playing field.
What I meant is that I don't see truly indie-produced feature films reach the zeitgeist anymore.
I don't mean AI slop, but the next gen of creative tools that will allow people to make cool and creative and compelling stuff without the backing of 100's of millions of dollars.
It seems like movies are just another cyclical creative industry and this has already happened multiple times before- with each new technology and distribution platform there's the potential to get a wave of creative output that wasn't possible before.
Another aspect could be that the hollowing out of the top / polarization of the industry is another catalyst.
It could be enough that people who don't work on 100's of million dollar budget films get funding to do the next 1 million dollar film that looks great and is amazing.
That's more analogous to the SaaS startup boom that happened in the previous gen of tech startups. Initial costs went down and platform access went up.
The extension of my logic to Netflix would be, if I think their prices are too high and that causes me not to subscribe, and their prices are so high because they need to pay very high salaries, then there’s just no way that Netflix can exist in a form that I would subscribe to.
> it just seems like a very boring way to live out your life.
Quite the contrary, I constantly discover interesting old movies from a wide variety of genres and different parts of the world.
I believe they wrote that it is consistent to find sufficient utility from a $14 grilled cheese sandwich and also find insufficient utility from a whatever price movie theater experience.
It isn’t written out, but when people complain about the price of anything, they are complaining the price to utility ratio. Not exactly profound stuff, but that is basically what it is, most people don’t get a sufficiently better experience in theaters in today’s world.
IMAX opening week is a bit more but are comparable to mid-range concert tickets. And it really is a big screen, so can definitely be worth it.
The snacks and drinks at the cinema is wild though I think. As a comparison the M's they sell are twice the price and half the size of that from the grocery store. I get that they want to make some money on it, but 4x the price is just too much for me.
It should only scare you if you are ignorant.
>very few mediums have thusly pierced through across cultures and societies quite like Hollywood
This is laughable if you look at video games and music EVEN if you ignore everything american. Not mention Asia from Bollywood to Kpop to anime to HK cinema.
To be fair, barely anyone (in global terms) watches the Super Bowl.
You are correct though - [0] claims 171M for TGA with [1] claiming 125M for the Superb Owl 2026.
[0] https://en.wikipedia.org/wiki/The_Game_Awards_2025
[1] https://www.latimes.com/entertainment-arts/business/story/20...
It’s entirely possible that we’re in a period where most of those with creativity have just stopped making movies. Interestingly, I find TV has everything movies are lacking, creativity, originality, even big name actors that used to make movies.
Hollywood should implode and hopefully the art form will resurrect for the better. But for me the primary reason is that they don't live up to what they are supposed to do. Creating good art.
That is just not the case with acting, where the end product being differentiable is part of the inherent value of the product.
Also, it's probably true that SAG's loss of industry power has very much to do with the loss of the power of movie stars in general.
Getting paid for being on-call seems straight forward to me.
If anything the substitute has been TV. Gaming is big, sure, but that doesn't appear to crowd out time reserved for watching media. I expect that the marathoner gamer who plays for hours daily is a comparatively smaller demographic.
People always think unions are magic when I saw in my small town where I grew up in South GA was that when union demands got to onerous - factories just picked up and left.
Just like software engineers scream unionization when tech companies can just expand departments overseas and as a bonus, they don’t have to worry about H1B shifting policies
I mean, the NFL, at root, is in the business of entertainment also, and it makes more than Hollywood as well all in.
But why would Hollywood care?
You don’t have to pay the app “convenience fee” but they added assigned seats to pressure you to do so. If you wait till the day of and buy on the big kiosk in the lobby, what if all the good seats are gone? (Hint: they won’t be, the theaters are always mostly empty)
To get a better view, right?
Might be an anecdote, but I've noticed several friends and family unable to focus on a movie and lately even on a tv show without pulling their phones every few minutes.
Before the pearl clutching starts - yes I’m Black.
Maybe they shouldn't. Maybe word of mouth from among those in your circle of friends that have good taste is enough. I'm not sure that blockbuster cinema reaching millions is tenable, or a good thing.
As for "watching content"... yuck, I hate the word "content".
I mean, "want to" is one thing, but the numbers show what they end up doing. Instagram and TikTok, like video games as someone else mentioned, have taken a significant share of the "entertainment hours" budget. I feel like the impact of the low-to-no-budget content creator is undeniable (this traces back to ebaumsworld and early YouTube, it was just internet dorks then, now it's been industrialized. Gen Z probably wholeheartedly prefers this type of content).
My point was that content creation has been democratized -- unfunded individuals can now compete -- not that making traditional Hollywood-style movies has been. It's gone so far they've been phased out, the entire premise is largely untenable at this point. That specific sector was actually somewhat more democratized in the late stages of the heyday, when a Hollywood movie called Dude, Where's My Car was made, and indie films did flourish because the industry was healthy enough to support them.
What I object to is this notion that everyone should make art, and that AI empowers them. As in (and yes, I've read this, I'm not making this up) "people without writing skills can now write novels". That seems wrong to me. People without writing skills (or drawing, or movie making) should not be making those things.
According to Streams Charts, the ceremony peaked at 4.4 million concurrent viewers—the most in its history and a 9% increase from 2024—including 1.4 million viewers on the official YouTube broadcast (an 8% increase) and 1.8 million on Twitch. On YouTube, the ceremony peaked at 2.4 million total concurrent viewers (a 9% increase), including a record 8,600 co-streams.[6] More than 16,500 creators co-streamed on Twitch—a record for the show, representing a 50% yearly increase—with total unique viewers and hours watched each increasing 5% from 2024.[6][114] On Twitter, posts about the show increased by 12%, with more than 1.79 million posts from December 10–12, while the broadcast and related videos received over 60 million views.[6]
Any list will be subjective so instead of taking your initial bait for you to subsequently tear down, people (but probably AI) can construct a list to your personal taste.
All the successful Marvel movies are completely based on the characters.
Do I want movies to survive? Sure. But Hollywood as a thing was about vacuuming up every penny it could and that I do not grieve.
Which might be raised in relation to gaming as well, but I'd argue that gaming elements share much more in common with cinema, particularly in the contexts of world design, character development, backstory, and of course, CGI.
Summary: it's okay to talk about "content" if you're a "content plumber" like some kind of backend video engineer or sysadmin, someone whose job is to help the bits get to the viewers and doesn't need to care what the bits represent. It's not okay if you're a director, actor or viewer, someone who's actually interacting with the the specific piece of content.
I think it's virtually all demographics below 70.
My 60/70 years old family are all too distracted by the phones to watch a movie, and so are millenial friends.
looking at the last 4 years of world events, I think some people already have some nostalgia for a shared cultural experience, instead of everyone being in their own algorithmically and socio-culturally / demographically segregated bubbles. Or maybe it's just looking back with rose colored glasses shrug
If we are ranking on streams however, does this take into account streams of parts of each media? For example streams of Bad Bunny's halftime show, streams of important plays, versus streams of individual awards being presented?
I don't actually care either way, much, since I don't like American football, don't generally like team sports, and don't spend time gaming, but somehow I think the comparison between the two in online streams throws the metrics off.
Look at Captain America: The First Avenger. It's a pulpy world war 2 film, really. If you took Captain America out it would still be a fun film. Captain America: The Winter Soldier is a spy thriller
Ant Man is a heist movie, like Oceans 11. Guardians is a sci fi comedy.
After a while they started to all just become "Marvel Movies" and that's the point they stopped being nearly as fun imo
It could be that in 20 years the Oscars are like the Jazz awards (the Grammys? - I listen to Jazz but I can't name a single Jazz Grammy winner)
I agree that the good stuff is just a result of shotgunning, for every great movie, there are 100 that are forgettable. But we have the habit of concentrating power in one place, so I have no clue how it could be otherwise. Sure youtube is an alternative with myriad of independent creators, but it produced totally different outcomes.
I can't help but think this "AI empowerment" will make it even easier for studios to produce more garbage at an unprecedented pace. And they won't have to even let actors age gracefully and die; now we can have Tom Cruise (or whomever, pick your poison) forever.
Batman and the different actors and directors over the different versions of the franchise is another example.
"Silicon Valley":
As more high-tech companies were established across San Jose and the Santa Clara Valley, and then north towards the Bay Area's two other major cities, San Francisco and Oakland, the term "Silicon Valley" came to have two definitions: a narrower geographic one, referring to Santa Clara County and southeastern San Mateo County, and a metonymical definition referring to high-tech businesses in the entire Bay Area.[citation needed] The name also became a global synonym for leading high-tech research and enterprises, and thus inspired similarly named locations, as well as research parks and technology centers with comparable structures all around the world.