Last week there was an amusing dose of obliviousness from the Associated Press. The news syndicate put out a plea that Hollywood needs to address climate change more often in motion pictures. As the press has been covering how “climate anxiety” is on the rise (something they are directly responsible for fostering), the AP feels it is a swell idea to have you settle back with a tub of popcorn and be told how you are killing the planet. Small matter: The news outlet is corrupt on this topic, as it is being paid by climate alarmists to cover this issue as “news.” 

That anyone would even think that delivering stern lectures in our escapist entertainment is a winning formula is not only ignorant of audience desires, they are also oblivious to what is taking place in theaters this year. Theater owners are struggling in 2024, as an already impacted segment of the entertainment industry still looking to recover from the pandemic disaster has been in the doldrums. The problem is getting worse, not better. The question is, why?

Up to this point in the year, theater ticket sales are down more than 20 percent from 2023, and this summer has been simply dismal. So far there have not been many breakout titles of note, and looking to find a hit film during the year is a chore. “Godzilla x Kong: The New Empire'' delivered some business, as did “Dune: Part 2” and “Kung Fu Panda 4,” but then looking over the rest of the calendar, we see very few titles that stand out. This has led to a reality by looking at the pre-pandemic era; so far 2024 is off by more than 40 percent from the 2019 baseline.

As for the summer slate, all the news has been how dreadful business has been. On Memorial Day Weekend, “Furiosa: A Mad Max Saga” led a pack of films that delivered one of the worst holiday frames in decades. The dystopian action romp barely edged out the animated attempt to rejuvenate a property, “The Garfield Movie.” The total haul in theaters was just $121 million, a Memorial Day figure not seen since the 1990s – exceptions being 2020-21, when theaters were closed outright or just beginning to reopen.

The lone standout seen this summer has been “Kingdom Of The Planet Of The Apes,” which has been strong and exceeded projections. But apart from that the movie releases have led to studios and industry experts looking to explain the absence of ticket buyers. “Furiosa” was an anticipated release, with critical raves attached. “Garfield” and “If” are currently the only family fare, and neither one is drawing crowds of kids. “The Fall Guy” was cruising in with strong advanced word from film festivals, and it sports highly-rated reviews from critics and audiences, yet few turned up to enjoy it.

So what is the cause of this audience apathy? Various theories have been floated, and surely they are influential to one degree or another. “Furiosa” is an R-rated title, so this truncates the audience, and other experts note a female-centered action film is usually another factor depressing sales. Meanwhile “Garfield” can be considered a tired retread property, one that has had its share of films and TV shows already adapting the decades-old comic strip.

Another factor cited is that this slog is partly due to last year’s dual strikes affecting the release schedules, but this does not hold up when you see titles making it into theaters but being ignored. The biggest influence has to be the competing platform of streaming services, and this is a reality that the studios have created for themselves

Looking at last year’s summer shows what is at play. The two primary films of 2023 were “Barbie” and “Oppenheimer.” The two came with massive expectations and were culturally impactful, making them required entertainment. Even on Memorial Day, there was the live-action “The Little Mermaid,” which carried some baggage but still drew enough of a kids’ audience to be deemed a hit. 

It seems that save for a film that would be regarded as an “event pic,” people have become conditioned to ride out a theatrical release and wait briefly for films to show up for home streaming. This was something that had been a necessity during the pandemic, but studios fell into the practice of a quick turnaround to get a “hot” title onto a streamer in order to create interest in the home market. This has led to a shift in the viewing habits of audiences. 

In years past the summer blockbuster season was a flush time, with kids out of school, teens making it a weekend activity, and adults even opting for more mature fare as they sent the kids to another theater for animated releases. Summer saw moviegoers in a default mode; they were expecting to go out and see a film, and the decision on what they would attend was almost secondary. “Want to go see a movie? / Sure, what’s playing?” was the typical approach. 

In the pre-streaming era there was a regimented release window for theatrical films before they appeared on alternatives, being then the DVD, pay-per-view, and cable television options in the secondary markets. There was the practice of waiting at least 90 days from when a title left theaters before it would be released for home viewing. This created a premium on the theatrical release platform, making seeing movies in theaters more of a demand.

Not so any longer. Since the pandemic streaming outlets became a needed portal for films, and then as theaters reopened, studios they became reluctant to return to that restrictive 3-month release window. This is because they have invested heavily in streaming, and except for Netflix, most are losing significantly on those ventures. Having exclusive content to lure subscribers is a priority in the highly competitive marketplace, so shuttling titles onto their digital platforms is seen as a need.

Look at the move made with “The Fall Guy.” Once the title was seen as not becoming an explosive hit. Universal made the call to have it appear on streaming services on May 21, just two weeks after it was released in theaters. It was a hoped-for gambit to get home viewing interest while it was a fresh release. This leaves the exhibitors with a diminishing product. Movie theater lobbies are becoming cavernous as people have settled on the expectation that if they show just a bit of patience, a film they want to see will be made available in their living room soon enough. 

It has become a hand-wringing summer for studios and one of borderline panic for theater owners. In the coming weeks, it remains to be seen if titles that would have been assured hits in years past will deliver people in seats. “Bad Boys 4,” Disney’s “Inside Out 2,” and “Despicable Me 4” are on the way, with varying promises of success. 

The only movie coming out that looks like a can’t-miss blockbuster is “Deadpool & Wolverine." That is not due to arrive until July 26. In the meantime, it will be a sweat-inducing two months for those relying on ticket sales.