Hollywood Enters Oscars Weekend in Existential Crisis

Original Article ↗ Hacker News Discussion ↗

Oscars and “Hollywood crisis”

  • Many see the Oscars as emblematic of the problem: self‑congratulatory, corporate, and artistically conservative.
  • Some prefer festival juries (Cannes, Sundance) as better artistic barometers.
  • Others argue this is cyclical; similar complaints have existed since at least the 1980s.

Economics, pricing, and business model

  • Strong frustration with theatrical costs: $15–25 tickets in many US cities, $80+ for a couple with snacks; cheaper in Europe and smaller US markets.
  • Theaters rely heavily on concessions; most ticket revenue goes to studios, especially early in runs.
  • Streaming underprices theatrical: people delay or skip cinema when they know it will appear “free” on a subscription soon.
  • Missing “middle” market of rentals and mid-budget films is widely lamented.
  • Some note Hollywood’s offshoring and tax incentives abroad; others blame overreliance on mega‑budget franchises.

Content quality, “slop,” and AI

  • Many think mainstream output is formulaic: endless sequels, superhero franchises, DEI/HR‑like messaging, and “AI slop” aesthetics even before real AI.
  • Counterpoint: survivorship bias—older eras also had tons of trash; we just remember the classics.
  • Some fear AI will flood the market with even more low‑effort work; others hope new tools will re‑democratize filmmaking.

Cultural relevance and competition for attention

  • Several argue movies, especially American ones, are losing cultural centrality to:
    • Short‑form video (YouTube, TikTok, Instagram)
    • Video games (viewed as a much larger, more dynamic industry)
    • High‑end TV/streaming series
  • Others say cinema will persist, just as a niche art form (like jazz) rather than a mass “event.”

Global and indie alternatives

  • Many commenters now watch mostly:
    • Older films (classics, repertory screenings)
    • Foreign cinema (Korea, Japan, India, Europe, Brazil, China)
    • Indie/arthouse and A24‑style work
  • Publicly funded national film institutes in other countries are highlighted as enabling high‑quality non‑Hollywood films.

The theatrical experience

  • Split views:
    • Pro: big screen, shared reactions, focused attention, special formats (IMAX, 4DX) still feel magical.
    • Con: loud ads and trailers, disruptive audiences, phones, mediocre projection/sound, and home setups that rival or surpass theaters.

Politics and propaganda

  • Some feel newer films are too didactic or “preachy.”
  • Others note Hollywood has always had strong political and military propaganda elements; what’s new is which messages feel intolerable to which viewers.