Taylor Swift is an outlier. Sure. But what she just pulled off with Showgirl is a wake-up call for filmmakers: audience ownership isn’t optional anymore.

Brutal el paralelismo que hizo #Loret con las palabras de Ma Corina en el Nobel de la Paz. Su hija describió,paso a paso,el hundimiento de Venezuela…y Loret nos muestra q cada uno de esas atrocidades ya ocurrió o está ocurriendo en Méx. Un espejo incómodo q no debemos ignorar.

Lost my 2 bags in Madrid and haven’t had any updates… what a joke @Iberia @Iberia_en

finally got around to watching GOT for the first time, and the battle scenes are mind blowing 🤯

hot take for filmmakers: focus more on building an audience you own not chasing festival laurels that fade after premiere night yes, they look good on a poster but not many people actually watch movies in festivals anymore but an audience that follows you will always show up

The future belongs to filmmakers who treat audience-building like craft. Taylor Swift proved the model at scale. Your version might be smaller, but the principle is the same: own your audience, own your destiny.

Filmmakers, this is the real question: If your film dropped tomorrow, could you reach your people directly? If not, it’s time to start building.

Studios still think distribution = power. But Swift showed that connection = power. Own the relationship with your fans, and you own your leverage.

Yes, Taylor has 547M followers. You don’t. But here’s the truth: you don’t need millions. You need a real audience that’s yours. Even 1,000 true fans can change your career.

And remember: Eras Tour film made $172M profit using the same playbook. Why? Because she bypassed studios and went direct-to-exhibitor.

Her new film did $15M presales in 24 hrs. Expected $30M–$50M weekend. No studio, no $55M P&A spend. Just Swift + AMC.

Right now, AI feels like a distant threat in Hollywood. But when household-name talent starts going public with it… That’s the tipping point. That’s when AI stops being a parlor trick and becomes culture.

For outsiders, AI is a democratizing tool. For established Hollywood talent, it could be a liberating tool. A way to bypass studio bottlenecks and tell stories on their terms.

Here’s the bigger force: economics. “Peak TV” is over. Budgets are flat. Studios are risk-averse. If Hollywood won’t bankroll original stories… AI just might.

AI video tools are clunky today. But pro-level control is coming fast: → Conditioning on images & video → Fine-tuning & ControlNets → Post-gen editing tools → Node-based editors → API/edit suite integration

History repeats itself. • Talkies were “the death of cinema.” • DVDs were “cheapening art.” • CGI was “fake.” Every time, Hollywood fought tech, then made it its own.

For now, most of Hollywood says it “hates” AI. But behind the scenes, big-name writers, directors & producers are quietly experimenting. The question isn’t if they embrace it... it’s when.

The next great filmmaker might not come from Hollywood. They might come from AI. 🧵

Jannik Sinner is on the charge in the second set!

If he pulls this off, 2025 officially becomes the year of Jannik