Christopher Nolan accepts the Oscar for Best Director for Oppenheimer
he weeks and months leading up to the Oscars—including the campaigning, the chatter of prognosticators, the rushing to catch up with every nominated picture—are usually a jubilant time. But the storm clouds hovering over this most recent season, which culminated in Sunday night’s efficient and entertaining Oscars broadcast, are about to break, and Hollywood knows it. As viewers, we’re just bystanders, right? Consumers who wait for the “content” to happen.
which give great performers—like that movie’s star, Jeffrey Wright—the chance to shine? Do we want more oddball successes likewhich earned a total of four Oscars, including one for Holly Waddington’s gloriously inventive costumes? The answer to all of those questions is Yes—if we care about movies as an art form, we want it all. And streaming services, if they choose to, can still pour money into projects like those.
But that’s about to change. Now that we’ve become accustomed to a steady stream of product, the streamers have begun to raise their rates. Their commitment to funding big projects by ambitious filmmakers may be on the wane, too. It’s time for us to decide which side we’re on: the side of those trying to make great movies, or the side of those eager to make money off us in any way possible.
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