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VR/AR is ad-tech. Everything built in studios (except for experimental projects from independent artists) is advertising something. That empathy stuff? That’s advertising for nonprofits. But mostly VR is advertising itself. While MTV was advertising musicians, the scale and creative freedom meant that it launched careers for people like Michel Gondry, Antoine Fuqua, David Fincher, Spike Jonze, Jonathan Dayton and Valerie Faris, etc. A band from a town like Louisville or Tampa could get in touch with a local filmmaker and collaborate on a project and hope that 120 Minutes picks it up. There were entry points like that. And the audience was eager to see something experimental. But a VR audience is primed to have something like a rollercoaster experience, rather than an encounter with the unexpected. The same slimy shapeshifter entrepreneurs that could just as well build martech or chatbots went and colonized the VR space because they have a built in excuse that it took film “fifty years before Orson Wells.” Imagine that. A blank check and a deadline in fifty years.

No one wants to get inside some sweaty uncomfortable headset unless they are going to be rewarded with something at least as good as music videos were in 1984. But who is ushering in talent rather than hype? VR is starting as an institutional and commercial monster rather than scaling into institutional power. It’s like if the art market came before art.

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