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Case in point: The runaway success of the Five Nights at Freddy’s movie (2023). It wasn’t a good film by traditional critical metrics. But it was a perfect artifact of popular media—a movie made by people who loved the game, for an audience who had spent a decade building lore videos in their bedrooms. It grossed nearly $300 million. The biggest misconception about modern audiences is that they are lazy. In truth, they are exhaustingly active .
In 2024, The Office (which ended in 2013) was still one of the most-streamed shows in America. So was Grey’s Anatomy (debuted 2005). Why risk a new, complex drama that requires emotional investment when you can put on a familiar episode where you already know the jokes?
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In 1950, “entertainment” meant gathering around a radio for one hour or going to the cinema once a week. In 2025, it means waking up to a TikTok recap of last night’s Late Show , listening to a true-crime podcast during your commute, binge-watching three episodes of a Netflix drama on your lunch break, and ending the night watching a live streamer open Pokémon cards on Twitch.
The question is no longer “Is this good entertainment?” The question is “Does this entertainment make good content for talking about entertainment?” SexMex.24.08.12.Jocessita.Horny.Cosplayer.XXX.1
We don’t just consume media anymore. We live inside it.
We are witnessing . Audiences are exhausted. The phrase “I have nothing to watch” is spoken while staring at a library of 5,000 titles. This paradox—choice fatigue—is leading to a counter-trend: comfort rewatching . Case in point: The runaway success of the
And the answer, forever, is yes. Popular media is no longer a product you buy. It is a language you speak. Whether you are fluent or just trying to order a coffee, you are already part of the story.
