Tad Friend’s recent New Yorker article The Mogul in the Middle reminds us that movies are like everything in this life: a business. Friend focuses on STX Entertainment founder, Adam Fogelson, who “is not interested in movies where they all talk too much, that Sundance shit of jerking off on the screen.” Instead, Fogelson is celebrated for taking risks on films that larger distribution companies are scared of: “In 2012, If you asked a roomful of people ‘What’s “Ted”?,’ some might have said, ‘A conference’. Four months later, all around the world, a giant portion of people would have said, ‘A movie about a magical bear who comes to life.’ That is an exciting, terrifying, magical truth.” Friend goes on to explain that “the six major studios have bet that the future on films that are predicated not on the chancy appeal of individual actors but on “I.P.”—intellectual property, in the form of characters and stories that the audience already knows from books or comics or video games. 29 sequels and reboots came out last year, many of them further illuminations of a comic-book universe. Friend cites one studio head as to claiming, “Movies may not have gotten better over the years, but they’ve gotten more satisfying.”
Or to put it in laymen’s terms, they have become much bigger and far more dumber, exemplified in recent Oscar nominations for Mad Max, Fury Road and The Martian. Following the logic of these nominations, the 1981 Oscars would have expunged The Elephant Man and Raging Bull for Road Warrior and The Empire Strikes Back. Humanity, it appears, requires a better marketing department.