Whether they live in a city that's exciting, like New York City or, you know, Chicago or Los Angeles, I don't know where, wherever they've chosen to live, it doesn't matter anymore because they've been working all day and they're tired and they just want to sit at home and watch something at home.

You know, I don't think that's laziness.

I think it's a form of a miseration.

Yeah. that's laziness, I think it's a form of a miseration. Hello and welcome to Tech Won't Save Us made in partnership with The Nation magazine.

I'm your host, Paris Marks, and this week my guest is AS Hamra, but I'll be referring to him as Scott.

He's a film critic at N Plus One and the author of Algorithm of The Night and last week in End Times Cinema, two books that came out very recently.

I'm sure you've heard the news that

Netflix is planning to buy Warner Discovery, which of course holds one of the storied Hollywood

cinemas, Warner Brothers, and the vast archive of film and television that company created

and owns the rights to. And now that might all be owned by this streaming giant Netflix.

What is it going to do with that?

What is it going to mean for the future of Hollywood cinema and of cinema more generally?

Is this really the direction that we want to be going?

These are some of the things that I wanted to talk to Scott about,

to really understand how he feels streaming and, broader kind of changes in the business of how movies are

made has really meant for film, how we consume it, what type of film we actually receive,

and what it has meant for the broader culture to have these transformations happen.

That doesn't mean that this is a story just in the past decade, but comes from a much longer

history of how things have been developing.

One of the things that I have really enjoyed from reading Scott's work and some of the

pieces that I've read of his over the years, talk about how the use of technology

to transform the way that films are made and to shift the power in the film industry

...