I believe that the decline of the Oscars is due to the disappearance of the type of movies they were originally meant to showcase. The ideal Oscar nominee is a high-middlebrow film that aims for artistry and is meant to be watched on the big screen, featuring famous actors, vibrant cinematography, and a memorable soundtrack. These films are not overly difficult for art-house audiences nor are they comic-book blockbusters, but rather appeal to a wide audience of serious adults. In the past, Oscar races featured conflicts that engaged every moviegoer, but this year's Academy Awards seem to mark the end of an era. With 10 best picture nominees, many of them appear to be the type of films that the Oscars desperately need to regain their former glory. "West Side Story" is being directed by Steven Spielberg in a modern take on a beloved musical. "King Richard" features a powerful performance by Will Smith in a sports movie. "Dune" is an epic science-fiction adaptation. "Don't Look Up" stars Leonardo DiCaprio and Jennifer Lawrence in a movie addressing important issues. "Drive My Car" is a three-hour Japanese film exploring the intricate relationship between a widowed actor and his female chauffeur. The previous nomination may cater to a specific audience, but this year's nominees still include well-known actors, renowned directors, and traditional Hollywood genres. Despite this star power, very few people actually watched these movies 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, "Dune," just surpassed $100 million domestically, ranking as the 13th highest-grossing film of 2021. In summary, the 10 nominees collectively made only a fraction of what "Spider-Man: No Way Home" earned at the box office. Despite Hollywood's attempts to recapture past success, the public's interest seems to have waned. The impact of COVID-19 on the film industry, particularly affecting older moviegoers, cannot be ignored. The simultaneous release of many best picture nominees on streaming platforms and in theaters, as well as the success of "Don't Look Up" on Netflix, further highlights the changing landscape of the entertainment industry. Amidst this unusual crisis and technological shift, it is important to assess the current state of the industry. Sure, while non-superhero movie box office revenues are expected to rebound in 2022 and next year's best picture nominees are likely to have higher earnings in theaters, it is evident within the broader context of Hollywood's history that we are witnessing not just the decline of the Oscars, but also the end of the movies. This has been a long time coming. However, this does not mean that films are on the verge of disappearing. Just as historical events have continued after Francis Fukuyama's proclamation of the End of History, self-contained, roughly two-hour stories will still be shown on screens for entertainment, alongside other content in a vast and profitable industry. What appears to be coming to an end is The Movies - the big-screen entertainment that has been a central American popular art form, a major source of American celebrity, the primary space for American actors and storytellers, and a cultural institution with its own icons, scripts, and rituals of initiation into adulthood. The long-anticipated decline of the big screen has been gradually approaching for some time, hinted at by the spread of television, the invention of the VCR, the popularity of cable TV, and Hollywood's romanticized view of its own past. Despite this, television coexisted with movies for decades, with TV becoming increasingly influential without overshadowing the dominance of film. While TV in the 1960s and '70s was successful, it was also disposable, resembling newspaper opinion pieces compared to bestselling books. The introduction of VHS tapes provided a new way for audiences to connect with movies and generate revenue, but ultimately, the main goal was to finance future blockbuster films, relegating direct-to-video entertainment to a secondary role. Despite the presence of television stars since Milton Berle, the '80s and '90s marked the beginning of what we now recognize as prestigious television programming. However, if you sought true recognition, genuine fame, or lasting artistic recognition, you still had to display your work in movie theaters, crafting self-contained pieces of art on a grand scale and observing how critics and audiences responded. Success could transform you into a figure like Robert Altman or Bruce Willis, who both made the transition from television to film seamlessly. On the other hand, failure could leave you like Shelley Long or David Caruso, forever a cautionary tale illustrating the unique challenge of the film industry. The late 1990s marked a period of transition as computer-generated effects began to mature, hinting at a new era of cinematic innovation. Independent cinema supported a new group of filmmakers. In 1999, many consider it to be 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 could easily justify more than just a Top 10 list, possibly even a Top 50 list in hindsight. Interestingly, Oscar viewership increased from the late 1980s onwards, peaking in 1998 when "Titanic" won best picture. This victory was seen as a win for the film industry as a whole, combining classic Hollywood with modern special effects to draw audiences to the theaters. For teenagers at that time, going to the movies was a significant part of growing up. Personal memories of being too young to see an R-rated film and the excitement of finally being old enough to watch movies like "Eyes Wide Shut" on its opening weekend still stand out. The initiation process was not just about entering adulthood in general, but about becoming familiar with specific cultural references, such as popular movies like "Austin Powers" and "The Matrix". These movies were considered essential for social interaction in college, as they provided the basis for jokes and references that connected people in a social context. However, various factors ultimately led to a shift in perception, reducing movies to just another form of entertainment. A significant development during this time was the rise of high-quality television shows like those on HBO, which began to rival movies in terms of acting, writing, and directing talent. The other changes that occurred were somewhat unclear. Globalization expanded the market for Hollywood films, but the global audience led to a shift towards simpler storytelling that could be easily understood across different languages and cultures. The internet, laptops, and iPhones made entertainment more personalized and accessible, but also led to a preference for smaller screens and individual viewing, contrary to the communal experience of cinema. Special effects allowed for visually stunning scenes and previously impossible stories to be brought to the big screen. However, the rise of effects-driven blockbusters gave rise to a fandom culture that prioritized studio audiences over traditional cinematic values. And all of these changes were encouraged by a broader trend of Western culture becoming more youthful, with teenage tastes and entertainment habits becoming more prevalent in adult life. This shift pushed Hollywood in two different directions: towards producing superhero movies and other familiar properties aimed at teenagers to sustain box office success, and towards generating a high volume of content for home entertainment and streaming platforms that often blur the lines between traditional movies and TV series. Due to various pressures, much of what movies used to do in American culture, even just two decades ago, is now difficult to imagine. The internet has now taken the place of the movie theater as a space for adult initiation. With the vast array of entertainment options available and the repetitive and unoriginal nature of many popular movies, it is no longer possible for a few successful films to serve as a common cultural language. The idea of a movie star as a larger-than-life or iconic figure is also becoming outdated, as superhero franchises may bring fame to actors but often only as a temporary representative of the brand. The traditional genres that used to create a strong connection between actor and audience, such as non-superhero action movies, 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 connection doesn't necessarily carry over to the actor's other projects as easily as it did with 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, while recent female stars in TV series, such as Jodie Comer in "Killing Eve" and Anya Taylor-Joy in "The Queen's Gambit," haven't been able to bring their audiences with them to their film projects. Despite this, we should appreciate what this era has brought us, including the exceptional work of Comer and Taylor-Joy on television. The abundance of content available is remarkable, and serialized TV dramas have storytelling capabilities that even the biggest movies lack. In our recent TV viewing, my wife and I have been enjoying the basketball drama "Winning Time" and Amanda Seyfried's portrayal of Elizabeth Holmes in "The Dropout". Next, we plan to watch the long-awaited third season of Donald Glover's "Atlanta". The quality of TV entertainment available now surpasses what was on cable 20 years ago. However, these TV productions are still different from movies due to their smaller cultural impact, less prominent stars, diminished communal experience, and a lack of certain artistic elements. For example, the grandeur of the movie theater experience is lost when watching on a smaller screen, affecting aspects such as acting, cinematography, music, and sound editing. Movies like "Dune," "West Side Story," and "Nightmare Alley" offer a vastly different experience in a theater compared to watching at home. It is appropriate that the Oscars this year have marginalized awards for score, sound, and film editing, as more movies are now being made for streaming platforms, leading to a decrease in importance placed on audiovisual immersion. Additionally, the condensed storytelling in serial television lacks the power achieved in telling a complete story in one go, without the promise of future seasons or episodes to develop ideas. This is why the greatest movies feel more fulfilling than long-form television shows, which can often suffer from unnecessary seasons or mediocre episodes. The lack of a clear destination in advance has led to potentially great shows like "Lost" and "Game of Thrones" being ruined. While a great film is likely to create its own immersive world for viewers to fully engage with, this does not diminish the artistic possibilities of longer works. For example, "The Sopranos" accomplished certain character and psychological developments over its episodes that a movie could not achieve. However, "The Godfather" remains a superior piece of art. In a world where multiplatform content is dominant, and the small screen holds more influence than the big screen, fans of perfection should consider what they are seeking in this changing landscape where superhero films and TV series reign supreme. Two things are important: restoration and preservation. Restoration does not mean bringing back the exact landscape from 1998, but rather hoping for a world where traditional big-screen entertainment, such as mass-market movies that are not just comic-book blockbusters, becomes more viable, profitable, and appealing to audiences. One possibility lies in the changing geopolitics, with China and Russia becoming less welcoming to Western releases. This could lead to a revival of movies with a more specifically American appeal, aiming to make a significant profit on a smaller budget instead of spending huge amounts on production and promotion in hopes of massive worldwide earnings. The current focus in theaters is on maximizing revenue by showing numerous trailers and ads before blockbuster movies, which may be deterring adults from enjoying a night out at the movies. One solution to this issue is experimenting with differential pricing, which could lead to a more diverse range of movie experiences. For example, offering lower-cost tickets, fewer previews, and a simpler overall experience for non-blockbuster films like "West Side Story" could attract more viewers. With many empty seats in multiplexes, it may be worth exploring ways to sell more tickets for non-blockbuster films by offering a more streamlined experience. However, because there are limits to these hopes, fans of cinema must also consider preservation. Like lovers of theatre or ballet, they must realize that certain forms of artistic experience won't be passed down automatically and need support and patronage to educate others on the importance of these loves. In the case of movies, this support should focus on making it easier for theaters to show older films that may be overlooked in today's streaming-dominated culture. Secondly, there is a focus on incorporating exposure to exceptional films as part of a well-rounded education in the liberal arts. Despite the current challenges facing the liberal arts field, integrating 20th-century cinema into the curriculum can serve as a link for young people today to connect with the artistic traditions that influenced the development of film. By prioritizing the finest examples of cinema, educational institutions can offer an alternative to the rush to stay relevant that often characterizes contemporary engagement with popular culture. One of the significant moments that shaped my appreciation for movies occurred during college when I watched "Blade Runner" and "When We Were Kings" in a dim lecture hall as part of a course on heroism in ancient Greece. In 1998, I was still engaging with the main popular art form in American culture, which today would be considered somewhat outdated. This is also true for many other cultural experiences we would like students to have, from ancient works like the "Iliad" and Aeschylus to Shakespeare and 19th-century novels. While the decline of movies may not be reversible in terms of commerce or technology, there is still a cultural future beyond this apparent "death." It is now our responsibility to determine how rich and diverse that future will be.