I believe that the decline of the Oscars can be attributed to the disappearance of the type of movies that the awards were originally meant to highlight. The perfect Oscar nominee used to be a high-middlebrow film that aimed for artistic excellence, featured famous actors, stunning cinematography, and a memorable soundtrack. These movies were not too difficult for art-house audiences, nor were they blockbuster comic-book films, but rather were made for a broad audience of mature viewers. In the past, Oscar races featured conflicts that engaged all moviegoers, such as "Titanic" vs. "L.A. Confidential" or "Saving Private Ryan" vs. "Shakespeare in Love." This explains why this year's Academy Awards feel like an era coming to an end, with a reworked format and a sense of nostalgia for the type of films that used to dominate the awards. This year's best picture nominees reflect the type of movies that the Oscars desperately need to regain their former glory. "West Side Story" is being directed by Steven Spielberg, updating a classic musical. "King Richard" is a sports movie with a standout performance by Will Smith. "Dune" is an epic adaptation of a science-fiction classic. "Don't Look Up" is a big-issue movie starring Leonardo DiCaprio and Jennifer Lawrence. "Drive My Car" is a three-hour Japanese film exploring the complex relationship between a widowed thespian and his young female chauffeur. The last nominee may have a more specific appeal, but this year's nominees include well-known actors, prominent directors, and classic Hollywood genres. Surprisingly, despite their star power, most of the nominees did not attract large audiences in theaters. In February, it was revealed that nine out of the 10 nominees had earned less than $40 million at the domestic box office. The only outlier was "Dune," which just surpassed $100 million domestically, ranking as the 13th highest-grossing movie of 2021. Overall, the 10 nominees for awards have collectively made only a quarter of the profits of "Spider-Man: No Way Home" at the box office. Despite Hollywood's attempts to recreate the magic of the past, it seems that the audience is no longer interested. The impact of COVID-19 on the industry, particularly affecting films popular with older viewers, cannot be ignored. If not for the challenges posed by the pandemic, movies like "West Side Story" and "King Richard" may have performed better. Additionally, many of the nominated films were released on streaming platforms and in theaters simultaneously, with "Don't Look Up" finding success on Netflix following a brief theatrical run. This unique crisis has accelerated a technological shift, prompting a reevaluation of the current state of the industry. Yes, while non-superhero movies are expected to rebound in box office totals in 2022 and next year's best picture nominees may earn slightly more in theaters, it is clear that the decline of the Oscars signifies a larger trend: the End of the Movies. This does not mean that films will disappear entirely, but rather that the era of movies as the central American popular art form, the primary source of American celebrity, and the main aspirational space for American actors and storytellers is coming to an end. In the future, self-contained stories will continue to be shown on screens as entertainment within the vast and profitable content industry. The long-anticipated end has finally arrived, as indicated by the evolution of television, the introduction of the VCR, the popularity of cable TV, and Hollywood's glorification of its own past. Despite nostalgia, television never surpassed the cultural dominance of the big screen. TV in the 1960s and '70s was successful but disposable, like newspaper opinion pieces compared to best-selling books. The VHS tape allowed for a new way to enjoy movies and generate revenue, but the main goal remained funding blockbuster films. Prestige TV began to emerge in the '80s and '90s, following the legacy of television stars like Milton Berle. However, if you desired genuine fame, true recognition, or lasting artistic success, you would still need to showcase your work in movie theaters, producing self-contained masterpieces on a grand scale and observing the reactions of critics and audiences. Those who achieved success in this transition, such as Robert Altman and Bruce Willis, became icons in the film industry. On the other hand, those who attempted and failed, like Shelley Long and David Caruso, served as cautionary tales, illustrating that the world of movies remained a challenging realm to conquer. The late 1990s marked a period of transition as computer-generated effects advanced, hinting at a new era of cinematic innovation. Indie cinema played a vital role in developing 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," "The Talented Mr. Ripley," "Election," "Three Kings," and "The Insider." This year saw an increase in Oscar viewership, reaching its peak in 1998 with the success of "Titanic." This film marked a significant moment for the industry as it merged classic Hollywood with the special-effects era, attracting audiences to the theaters for a unique experience. For teenagers during this time, going to the movies was an important rite of passage. Personal memories include frustration at being turned away from R-rated films and the excitement of finally being old enough to see movies like "Eyes Wide Shut" during their opening weekend. The initiation process was not just about becoming an adult, but also about immersing oneself in a specific culture. Watching certain movies like "Austin Powers" and "The Matrix" was necessary to fit in socially as a college student and understand common references and jokes. However, this shift eventually led to movies losing their special status and becoming just another form of entertainment. Television, particularly during the "Sopranos" era on HBO, began to rival movies in terms of high-quality acting, writing, and directing. The other changes were somewhat unclear. Globalization expanded Hollywood's market, but the global audience preferred simpler storytelling that could be easily understood across languages and cultures. Personalized entertainment through the internet, laptops, and iPhones made it more accessible but also led to smaller screens, individual viewing, and intermittent watching, going against the communal experience of cinema. Special effects allowed for visually stunning scenes and previously impossible stories to be told on a larger scale. However, this focus on effects-driven blockbusters catered to fandom culture, potentially overshadowing traditional cinema elements in favor of franchises like Star Wars or Marvel. And all these changes were encouraged by a broader trend of Western culture becoming more like that of teenagers, with adolescent tastes and habits becoming more prevalent in adult life. This led Hollywood in two different directions: towards a focus on superhero movies and other familiar properties targeted at teenagers to sustain box office success, and towards a constant churn of content for home entertainment and streaming platforms that blurs the line between movies and TV shows. Due to various pressures, much of what movies used to accomplish in American culture, even just two decades ago, is now difficult to comprehend. The internet has taken the place of movie theaters as a space for adult initiation. With the vast array of entertainment choices available and the lack of originality in many popular films, it is no longer possible for a few blockbuster movies to serve as a shared cultural language. The idea of a movie star as a larger-than-life or iconic figure is also becoming outdated. While superhero franchises can bring fame to an actor, they are often seen as replaceable pawns of the brand. The types of genres that used to create a strong connection between actor and audience, such as non-superhero action movies, historical epics, broad comedies, and meet-cute romances, have all seen a rapid decline. While televised series can create a bond between viewers and a specific character, this bond doesn't carry over as easily to the actor's other projects like the larger-than-life movie stardom used to. Male actors from TV's antihero era are often forever associated with their characters, while recent female stars in TV shows like "Killing Eve" and "The Queen's Gambit" have not been able to bring their audiences with them to their film projects. However, we should appreciate the era for what it has offered us, including the exceptional work of actors like Jodie Comer and Anya Taylor-Joy on television. The abundance of content available is remarkable, and serial television dramas have storytelling capabilities that even the biggest movies cannot match. In our latest week of watching TV, my wife and I have been switching between the exciting basketball drama "Winning Time" and Amanda Seyfried's excellent portrayal of Elizabeth Holmes in "The Dropout". Next week, we plan to watch the long-awaited third season of Donald Glover's "Atlanta". While not all new content is as good as these shows, the quality of TV entertainment available now surpasses anything that was on cable 20 years ago. However, these TV productions are distinct from movies due to their reduced cultural impact, smaller stars, lack of communal experience, and the artistic aspects that are sacrificed for smaller screens. For example, films like "Dune," "West Side Story," and "Nightmare Alley" offer a completely different experience in a theater compared to watching them at home. In this context, it is appropriate that the Oscars have marginalized awards for score, sound, and film editing this year, as more movies are being made for streaming platforms, leading to a decrease in emphasis on audiovisual immersion. Additionally, the condensed storytelling in serial television today lacks the power that comes from telling an entire story in one go, without the promise of future seasons or episodes to develop ideas. This explains why the greatest movies often feel more complete than long-form television shows, which can suffer from unnecessary seasons or lack of direction. Shows like "Lost" and "Game of Thrones" have been negatively impacted by not having a clear destination in mind. While a great movie is often seen as a self-contained experience that viewers can fully immerse themselves in, this does not diminish the artistic benefits of longer works. For example, "The Sopranos" was able to explore character development and psychology in ways that a movie could not, but "The Godfather" remains a more flawless piece of art. In a world where multiplatform content is dominant and television holds more influence than film, fans of perfection may need to consider what to seek out next. Restoration and preservation are two key aspects to consider. Restoration does not mean bringing back the exact landscape of 1998, but rather envisioning a world where traditional big-screen entertainment, beyond just comic-book blockbusters, becomes more successful and appealing to audiences. One potential opportunity for this lies in 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 on a specifically American appeal, aiming for profitability on smaller budgets rather than relying on massive global reach. The current theatrical experience is focused on maximizing revenue by showing numerous trailers and ads before movies, which can be off-putting for adults seeking a more enjoyable night out. Some theater chains have tried different pricing strategies to address this issue, suggesting a potential shift towards offering a more simplified and affordable experience for non-blockbuster films like "West Side Story." This approach could help struggling multiplexes fill more seats and appeal to a wider range of moviegoers. However, because there are limits to these hopes, lovers of movies must also focus on preservation. This involves recognizing their role similar to supporters of theater, opera, or ballet, who have long known that certain aesthetic experiences require encouragement and patronage to be passed down. In today's culture, it is important to promote adult tastes and support for older movies, which may be overlooked in the streaming industry's focus on current content. This can be achieved by making it easier for theaters to show classic films and prevent them from being hidden away by corporate interests. Additionally, there is a focus on incorporating exposure to high-quality cinema into a well-rounded liberal arts education. Despite the current struggles facing liberal arts education, 20th-century cinema can serve as a valuable link for young people in the 21st century to connect with the traditional art forms that influenced the film industry. By prioritizing the finest examples of cinema, academic institutions can offer a more meaningful alternative to the superficial pursuit of relevance that often dominates popular culture studies today. One impactful moment for me as a film enthusiast occurred during college when I attended screenings of "Blade Runner" and "When We Were Kings" in a dimly lit lecture hall, complementing a course on heroism in ancient Greece. In 1998, I was still being exposed to American culture's primary form of popular art, which is no longer as dominant today. This is also true for many other cultural experiences we would want students to have, ranging from ancient works like the "Iliad" and Aeschylus to more recent works like Shakespeare and 19th-century novels. While the decline of movies may be irreversible from a commercial and technological standpoint, there is still a vibrant cultural life to be had beyond this supposed "death." It is now our responsibility to determine how rich and diverse this cultural life will be.