Antiques dealer, machine psychologist. http://www.musicinphasespace.com

If you want that $200M Marvel movie to exist, it has to monopolize screens, attention, and distribution networks. It’s not enough for it to break even. It needs to crush. And so, for you to enjoy it, 50 other weird, subtle, personal, maybe even beautiful projects need to vanish. There’s no room. The bandwidth’s gone. The theater chain dropped the indie to run Guardians of the Galaxy 9 on six screens. The game store won’t stock the narrative-driven $15 game because Fortnite and EA already ate the oxygen.

You can’t just “like both.” The ecosystem doesn’t work that way anymore. And that’s the quiet violence built into these entertainment economies: Your consumption requires the nonexistence of other people’s work.

Interesting take, but there's another side that Bravo is missing here. As someone who's worked in the industry, those $200M Marvel movies essentially fertilize everything else the studio produces. While those films may be their main bet, they also need to cover the themselves with a bunch of smaller budget films to address various audiences that make up the movie going public. This way they don't miss out on films that organically usurp manufactured blockbusters. Dark horses will always emerge in an-otherwise saturated marketplace. Thats what keeps it interesting, and why those weird, subtle, personal films that usually come out during the spring and awards season keep things from being too lopsided.

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This is trickle-down economics for Hollywood - and it’s just as mythical. The economics don’t work that way anymore. Those “weird, subtle, personal films” are funded through international co-productions, European to Asian government grants, or genuinely independent investors, not superhero movie profits. There was a system like this once, but it collapsed well before Disney bought Marvel in 2009. What we have now isn’t studios nurturing diverse storytelling - it’s global capital flows and government arts funding filling some of the void that American studios abandoned. I’ll take European and Asian subsidies to make a movie but lets dispense with the fantasy of a “market”