This paper examines the contemporary popular entertainment landscape, dominated by a handful of vertically integrated studios (Disney, Warner Bros. Discovery, Netflix, and Sony). Moving beyond auteur or audience-reception theories, it applies a political economy framework to analyze how studio ownership structures, risk-mitigation strategies, and algorithmic feedback loops shape production practices. Using Marvel Cinematic Universe (MCU) Phase 4, Netflix’s Squid Game , and Warner Bros.’ Barbie as case studies, the paper argues that the “studio-as-platform” model has replaced the “studio-as-lot” model, leading to three key outcomes: the logistical standardization of creative labor, the rise of “franchise-oriented” narrative architecture, and a measurable decrease in mid-budget, standalone productions. The paper concludes by assessing the sustainability of this model amid audience fatigue and labor unrest. 1. Introduction: The Consolidation Cascade Between 2015 and 2022, the “Big Six” Hollywood studios consolidated into the “Big Four” (Disney, Warner Bros. Discovery, Paramount, Sony), with Netflix and Amazon acting as disruptive tech-native entrants. This period saw the highest level of media concentration since the Paramount Decrees of 1948. The primary driver was not creative ambition but vertical integration of IP : studios now own not just production, but distribution (streaming services), legacy libraries, and merchandising rights.
The Franchise Factory: Labor, Logistics, and Narrative Homogenization in the Era of Studio-Heavy Entertainment BrazzersExxtra.23.07.28.Angela.White.Unbound.Pa...