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In response to this chaos, the smart players in popular media are shrinking the budget to increase the risk.
Neon and A24 have effectively become the new Marvel for the cinephile crowd. They have built a brand not on explosions, but on curation. Seeing the "A24" logo before a film like Past Lives or The Zone of Interest is now a genre unto itself—one that promises discomfort, beauty, and an immediate spot on the "Film Twitter" leaderboard.
This is the great lesson of 2024: In an ocean of endless streaming choices, scarcity and scarcity of quality become the only currency. film sexxxxx
In 2030, a “film” might be less a finished product and more a source code.
To survive, film content must leak into short-form media. A horror movie might release a fictional TikTok account for its villain. A rom-com might produce "blooper reels" exclusively for Reels. The film is no longer the whole product; it is the anchor product. The popular media ecosystem includes the film, the podcast analyzing the film, the YouTube video ranking the film’s costumes, and the Instagram quiz about the film’s plot holes. In response to this chaos, the smart players
Historically, "film entertainment" meant celluloid. It meant a communal experience with a beginning, a middle, and an end. However, the digital revolution has stretched the definition of film to its breaking point—and then reformed it. In the current era, a "film" can be a 3-hour epic released simultaneously in IMAX and on a mobile phone (theatrical-to-streaming day-and-date releases). It can be a "limited series" cut with cinematic lighting and A-list actors, effectively functioning as a ten-hour movie dissected into chapters.
Popular media now operates on a spectrum of length and depth. We have moved from scarcity (three TV channels and one local cinema) to abundance (millions of hours of content). This abundance has birthed a new phenomenon: the death of the monoculture. In the 1990s, the Super Bowl or the finale of Friends dominated the collective consciousness. Today, a Marvel film might draw billions globally, but it competes for attention with a niche Korean drama on a streaming platform, a viral skit on TikTok, and a video essay on YouTube deconstructing both. To survive, film content must leak into short-form media
This elasticity forces creators to think differently. Film entertainment content is no longer a static object; it is a variable. It must be compressible for Instagram Reels, expandable for director’s cuts, and durable enough to become a meme.
We are already seeing AI used for de-aging actors, generating background scenery, and even writing scripts. In the near future, AI may allow for "personalized films"—where the dialogue changes based on your viewing history or age. While the Directors Guild and Writers Guild have fought for protections, the inevitability of AI generation of popular media is clear. The question is whether AI becomes a tool (like CGI) or a replacement for human vision.
Streaming has killed the long-tail box office run. Now, the biggest movie of the weekend is discussed to death by Monday morning.