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We are entering an era where popular media will feature digital likenesses of deceased actors or allow users to insert themselves into movie scenes. This is legally murky but technically inevitable.

Forget Succession’s backstabbing or The Last of Us’s fungal apocalypse. The most streamed shows of the past year aren’t new at all. According to Nielsen data, legacy series like Suits (USA Network, 2011), Grey’s Anatomy, and The Office continue to dominate total minutes viewed. In music, Spotify’s “On Repeat” playlist often looks less like a discovery engine and more like a time capsule from 2015.

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“We are living through a polycrisis,” says Dr. Elena Vance, a media psychologist at UCLA. “Economic uncertainty, climate anxiety, and a relentless news cycle have fatigued our brains’ ability to process novelty. When you re-watch Friends or The Great British Bake Off, your brain experiences a dopamine release not from surprise, but from prediction. You know the joke is coming. You know the cake won’t rise. The lack of surprise is the reward.”

The industry has noticed. Netflix, once the avatar for “binge the new thing,” now heavily promotes its “Top 10 Most Popular” list, which is often filled with licensed reruns. More tellingly, the most successful new genre of the 2020s isn’t sci-fi or noir—it’s the “cozy” genre. We are entering an era where popular media

AI tools (like Midjourney for images or ChatGPT for scripts) are lowering the barrier to entry. Soon, you may be able to type "Create a 60-minute Marvel-style movie featuring a detective in ancient Rome" and have an AI generate it instantly. While exciting, this raises copyright and ethical questions about the soul of art.

How do creators get paid? The economics of entertainment content have transformed radically. The most streamed shows of the past year aren’t new at all

While entertainment content and popular media provide relaxation and joy, there is a darker side to the endless scroll.

For most of the 20th century, entertainment was a "top-down" experience. Three major networks (ABC, CBS, NBC) decided what America watched. Studio executives decided what music was played on the radio. This gatekeeping model meant that popular media was homogenous; a single episode of M*A*S*H or Cheers could unite 40 million people overnight. Entertainment content was scarce, and attention was abundant.

Intellectual Property (IP) is the most valuable asset in media.

We are entering an era where popular media will feature digital likenesses of deceased actors or allow users to insert themselves into movie scenes. This is legally murky but technically inevitable.

Forget Succession’s backstabbing or The Last of Us’s fungal apocalypse. The most streamed shows of the past year aren’t new at all. According to Nielsen data, legacy series like Suits (USA Network, 2011), Grey’s Anatomy, and The Office continue to dominate total minutes viewed. In music, Spotify’s “On Repeat” playlist often looks less like a discovery engine and more like a time capsule from 2015.

This isn’t laziness. It’s self-preservation.

“We are living through a polycrisis,” says Dr. Elena Vance, a media psychologist at UCLA. “Economic uncertainty, climate anxiety, and a relentless news cycle have fatigued our brains’ ability to process novelty. When you re-watch Friends or The Great British Bake Off, your brain experiences a dopamine release not from surprise, but from prediction. You know the joke is coming. You know the cake won’t rise. The lack of surprise is the reward.”

The industry has noticed. Netflix, once the avatar for “binge the new thing,” now heavily promotes its “Top 10 Most Popular” list, which is often filled with licensed reruns. More tellingly, the most successful new genre of the 2020s isn’t sci-fi or noir—it’s the “cozy” genre.

AI tools (like Midjourney for images or ChatGPT for scripts) are lowering the barrier to entry. Soon, you may be able to type "Create a 60-minute Marvel-style movie featuring a detective in ancient Rome" and have an AI generate it instantly. While exciting, this raises copyright and ethical questions about the soul of art.

How do creators get paid? The economics of entertainment content have transformed radically.

While entertainment content and popular media provide relaxation and joy, there is a darker side to the endless scroll.

For most of the 20th century, entertainment was a "top-down" experience. Three major networks (ABC, CBS, NBC) decided what America watched. Studio executives decided what music was played on the radio. This gatekeeping model meant that popular media was homogenous; a single episode of M*A*S*H or Cheers could unite 40 million people overnight. Entertainment content was scarce, and attention was abundant.

Intellectual Property (IP) is the most valuable asset in media.