I believe that the Oscars are losing popularity because the type of movies they were originally meant to highlight are becoming less common. The ideal Oscar nominee used to be a high-quality film that appealed to a wide audience of serious adults, with famous actors, beautiful cinematography, and a memorable soundtrack. These films were neither too niche nor too mainstream, but they catered to a broad range of viewers. In the past, Oscar races featured movies like "Titanic" competing against "L.A. Confidential" or "Saving Private Ryan" against "Shakespeare in Love," creating excitement for all moviegoers. This explains why this year's Academy Awards feel like they could be the end of an era, with changes made to the format in an attempt to recapture the magic of past ceremonies. With 10 best picture nominees this year, there is hope that the Oscars will once again showcase the type of films that made the awards show so special. "West Side Story" is being directed by Steven Spielberg in a modern take on the classic musical. "King Richard" features a powerful performance by Will Smith in a sports movie. "Dune" is an epic adaptation of a science-fiction classic. "Don't Look Up" stars Leonardo DiCaprio and Jennifer Lawrence in a movie tackling important issues. "Drive My Car" is a three-hour Japanese film delving into the intricate relationship between a widowed actor and his young female chauffeur. Maybe the last nominee may cater to a smaller audience, but this year's nominees feature well-known actors, renowned directors, and classic Hollywood genres. Surprisingly, despite all of this, most of the nominees did not attract a large audience in theaters. When the nominees were revealed in February, nine out of ten had earned less than $40 million in domestic box office sales. The only outlier was "Dune," which just crossed the $100 million mark domestically, ranking as the 13th highest-grossing movie of 2021. Overall, the 10 nominees for best picture have collectively made only a quarter of the revenue generated by "Spider-Man: No Way Home" at the domestic box office. Despite Hollywood attempting to revive the old magic, it seems that audiences are no longer as interested. The impact of COVID-19 on the film industry, particularly affecting movies targeted at older viewers, cannot be ignored. If not for the challenges posed by the delta and omicron variants, films like "West Side Story" and "King Richard" may have performed better. Additionally, many of the best picture nominees were released simultaneously on streaming platforms and in theaters, with "Don't Look Up" finding success on Netflix after a limited theatrical release. This unusual crisis has accelerated a technological shift, prompting a reassessment of the current state of the industry. Certainly, while non-superhero-movie earnings at the box office are expected to recover in 2022 and next year's best picture contenders will likely see increased theatrical revenue, it is evident that we are witnessing more than just the decline of the Oscars. We are witnessing the end of the traditional concept of movies. This does not mean that films will cease to exist, but rather that they will continue to be part of the entertainment landscape alongside other forms of content in the industry. The era of movies as the primary American art form, a crucial element of American celebrity, and a significant space for actors and storytellers, appears to be coming to a close. The end of the dominance of the big screen has been predicted for a long time, starting with the spread of television, the invention of the VCR, the rise of cable TV, and Hollywood's romanticization of its own past. Despite the success of TV in the 1960s and '70s, it was seen as disposable compared to movies. The VHS tape changed the way people interacted with successful movies, providing a new revenue stream. However, the main focus remained on funding big-budget films, with direct-to-video entertainment seen as a minor league. The '80s and '90s marked the beginning of what we now know as prestige TV. If you wanted to achieve true fame and lasting recognition in the world of art, you still needed to showcase your work in movie theaters, where critics and audiences could react. Successful examples include Robert Altman and Bruce Willis, who made the transition from television to the big screen with great success. However, failures such as Shelley Long and David Caruso served as cautionary tales, illustrating that not everyone could succeed in the world of cinema. The late 1990s marked a time of transition in the industry, with advancements in computer-generated effects hinting at a new era of cinematic possibilities. Indie cinema helped to develop a new group of filmmakers. The year 1999 is often considered one of the best years for movies, with notable films such as "Fight Club," "The Sixth Sense," and "The Talented Mr. Ripley." This year saw a rise in Oscar viewership, with the success of "Titanic" in 1998 being seen as a victory for the film industry. For teenagers at that time, going to the movies was a significant experience, with memories of being turned away from R-rated films and the excitement of seeing movies like "Eyes Wide Shut" on opening weekend. The initiation process was not only about transitioning to adulthood, but also about learning a specific language that included watching certain movies like "Austin Powers" and "The Matrix" in order to socialize effectively in college. This led to movies losing their elevated status and becoming just another form of content. However, a positive outcome of this shift was the rise of high-quality television shows like those on HBO during the "Sopranos" era, which began to rival movies in terms of acting, writing, and directing. The other changes that occurred were somewhat unclear. Globalization expanded the market for Hollywood movies, but the worldwide audience pushed for a simpler style of storytelling that could be easily understood across different languages and cultures, with less complexity and cultural specifics. The internet, laptops, and iPhones personalized entertainment and made it more accessible, but also accustomed people to watching on smaller screens, alone, and in short intervals, which goes against the communal experience of watching a movie in a theater. Special effects allowed for visually stunning scenes and previously impossible stories to be brought to the big screen. However, the focus on effects in blockbuster films created a fandom culture that prioritized certain franchises over traditional cinematic elements. The shifts in Western culture towards a more teenage-oriented society have influenced Hollywood in two main ways. One direction is towards a focus on superhero movies and other popular franchises aimed at teenage audiences to maintain success in theaters. The other direction is towards creating a constant stream of content for home entertainment and streaming platforms, blurring the lines between traditional movies and TV serials. Due to the current pressures in society, many aspects of what movies used to do in American culture, even just two decades ago, are now difficult to imagine. The internet has taken over as the main platform for adult initiation, replacing the traditional movie theater. With the vast array of entertainment choices available and the repetitive nature of popular movies, it is challenging for a few successful films to serve as a common cultural reference point. The idea of a movie star being a transcendent or iconic figure is also becoming outdated, as actors often become famous only as temporary assets to a particular franchise, such as superhero series. The traditional genres that used to create a strong connection between actors and audiences, such as non-superhero action films, historical epics, comedies, and romantic comedies, have all seen a rapid decline. While serialized television shows can create a bond between viewers and a specific character, this bond does not easily transfer to other roles played by the actor, unlike the larger-than-life persona of movie stars. Male actors from TV's antihero era are often forever associated with their characters, like Tony Soprano, Walter White, Don Draper, and Al Swearengen. Recent female stars in TV shows, such as Jodie Comer in "Killing Eve" and Anya Taylor-Joy in "The Queen's Gambit," have not been able to bring their television audiences with them to their film projects. It is important to appreciate the current era for what it has brought, including the exceptional work of actors like Comer and Taylor-Joy in television. The abundance of content is remarkable, and serialized television dramas offer storytelling capabilities that even the longest movies cannot match. In our recent week of TV watching, my wife and I have been enjoying the basketball drama "Winning Time" and Amanda Seyfried's portrayal of Elizabeth Holmes in "The Dropout". Next week, we plan to watch the long-awaited third season of "Atlanta" by Donald Glover. While not all new content is as good, the quality of TV shows available now surpasses what was on cable 20 years ago. However, these productions are still different from movies in terms of cultural impact, star power, communal experience, and artistic elements. TV shows on smaller screens lack the grand scale and immersive qualities of movies, such as cinematography and sound editing, which are less significant when viewed at home. For example, films like "Dune," "West Side Story," and "Nightmare Alley" offer a different experience in theaters compared to watching them at home. In this way, it is appropriate that the Oscars this year are overlooking categories such as score, sound, and film editing, as more movies are now being created for streaming platforms, leading to a decrease in emphasis on audiovisual immersion. Additionally, the condensed storytelling format of serial television in our current era lacks the power that comes from telling a complete story in one go, without the security of multiple seasons or episodes to develop ideas. This is why the best movies feel more fulfilling than most long-form television shows, which often suffer from unnecessary seasons or episodes, ultimately hindering their potential greatness. Shows like "Lost" and "Game of Thrones" have suffered from not having a clear direction from the start. While a great movie may provide a self-contained experience for viewers to fully immerse themselves in, this does not diminish the artistic benefits of longer content. "The Sopranos" was able to achieve character development and psychology over its duration that a movie could not replicate, but "The Godfather" remains a more flawless work of art. With the rise of multiplatform content and the dominance of the small screen, fans of perfection should consider what to prioritize in a culture where superhero blockbusters and TV series reign supreme. Restoration and preservation are two key factors to consider. Restoration does not mean completely bringing back the landscape of 1998, but rather envisioning a world where older-style, mass-market movies that are not just comic-book blockbusters, become more financially viable and appealing to audiences. One potential factor that could contribute to this shift is the changing landscape of geopolitics, with China and Russia becoming less receptive to Western releases. This could lead to a resurgence of movies that focus more on a specifically American appeal, aiming to achieve success with smaller budgets rather than investing massive amounts in hopes of earning billions worldwide. The primary shift that could be more significant is in the movie theater experience, which currently focuses on showing numerous trailers and advertisements before feature films in order to maximize profits, making it less appealing for adults seeking a simple night out. One solution to this issue is the implementation of variable pricing by some theater chains, which could lead to a more customized experience for different types of movies. For example, if big-budget superhero films are drawing large crowds while smaller films like "West Side Story" struggle to attract viewers, why not make the "West Side Story" experience more accessible with lower ticket prices, fewer previews, and a more efficient trip to the theater? With many multiplexes facing low attendance, it's worth exploring if a more streamlined experience for non-blockbuster films could increase ticket sales. Because the success of individual movies like "West Side Story" does not have a significant impact on the Hollywood industry as a whole, movie enthusiasts need to also focus on preserving classic films. Similar to lovers of theater, opera, and ballet, they need to recognize that certain forms of aesthetic experiences must be actively supported and passed down to future generations. This includes encouraging and financially supporting the appreciation of older films, which may be overlooked in today's streaming-dominated culture where corporate interests prioritize new content. Another point to consider is the importance of integrating exposure to high-quality cinema into a well-rounded liberal arts education. Despite the current challenges facing liberal arts education, incorporating 20th-century cinema can serve as a valuable link for modern young people to connect with the traditional art forms that influenced the development of film. By prioritizing the finest examples of cinema, educational institutions can offer a more meaningful alternative to the superficial pursuit of relevance that often characterizes contemporary academic engagement with popular culture. Personally, one of my most influential experiences as a film enthusiast occurred during college when I watched "Blade Runner" and "When We Were Kings" in a darkened lecture hall as part of a course on heroism in ancient Greece. In 1998, I was still immersed in the dominant popular art form of American culture. Today, a student going through the same experience would be engaging with an art form that is no longer as prevalent. The same can be said for many other cultural experiences we would want that student to have, spanning from ancient texts like the "Iliad" and Aeschylus to Shakespeare, 19th-century novels, and beyond. While the decline of movies may be irreversible in terms of commerce and technology, there is still cultural vitality beyond this supposed demise. It is now up to us to determine the richness of cultural life moving forward.