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That era is over.

The rise of TikTok and YouTube has democratized entertainment to a terrifying and thrilling degree. The line between "user-generated content" and "professional media" has dissolved. Consider the success of the FNAF (Five Nights at Freddy’s) movie, a Blumhouse juggernaut built entirely on a franchise born from a single indie game. Consider the rise of "Skibidi Toilet," a bizarre, surrealist animation series on YouTube that has generated billions of views and has reportedly been optioned for a film. a27hopsonxxx

In 2023 and 2024, the box office was a tale of two cities. On one hand, you had Barbie and Oppenheimer . "Barbenheimer" was a once-in-a-generation cultural collision—a piece of intellectual property (IP) about a plastic doll directed with arthouse flair, paired with a three-hour biopic about a physicist. Both were original-ish, director-driven, and wildly successful. That era is over

For decades, the gatekeepers were in Los Angeles and New York. They had offices, development deals, and power lunches. Today, the most influential creator in the world might be a 22-year-old with a ring light in Omaha. Consider the success of the FNAF (Five Nights

This has created a fascinating anxiety in the C-suites. Executives know that audiences want originality. But they are terrified to pay for it. The result is the "highbrow franchise"—taking a beloved IP and handing it to an auteur. The Batman (Matt Reeves). Andor (Tony Gilroy). The Last of Us (Craig Mazin). These are not products; they are arguments that genre can be art. It is a truce in the culture war. Perhaps the most profound shift is where and how we watch.