{"id":1691032,"date":"2026-09-07T14:00:04","date_gmt":"2026-09-07T18:00:04","guid":{"rendered":"https:\/\/observer.com\/?p=1691032"},"modified":"2026-09-04T11:07:25","modified_gmt":"2026-09-04T15:07:25","slug":"a24-deepmind-trust-cultural-power","status":"publish","type":"post","link":"https:\/\/observer.com\/2026\/09\/a24-deepmind-trust-cultural-power\/","title":{"rendered":"What A24\u2019s DeepMind Deal Says About the New Rules of Cultural Power"},"content":{"rendered":"
\"Robert
As media companies pursue scale, A24\u2019s advantage may be the thing that cannot be scaled: cultural trust. Its DeepMind deal offers a test of whether that tastemaker power can survive expansion without becoming diluted. Photo by Cindy Ord\/WireImage<\/span><\/figcaption><\/figure>\n

Lionsgate holds more than 20,000 film and television titles and is worth an estimated $4.8 billion<\/a>. A24 holds roughly 150 films and 50 shows and is worth an <\/span>estimated $3.5 billion<\/span><\/a>. That gap is the most interesting number in the industry right now. As content proliferates and distribution is no longer a moat, cultural cache may be the asset that best determines who survives media consolidation.\u00a0<\/span><\/p>\n

That\u2019s why reading Google DeepMind\u2019s <\/span>$75 million investment in A24<\/span><\/a> as a story about scale or A.I. entirely misses the point. It\u2019s a stress test of that credibility\u2014a question of whether 15 years of being a true anti-brand with accrued tastemaker trust can absorb contact with Silicon Valley without cracking.<\/span><\/p>\n

The deal itself was carefully hedged. The studio called it a research partnership; Google called it a way to build tools \u201cin service of\u201d filmmakers\u2019 vision. Neither side described it as a production deal, an IP play or a data-training arrangement. Rarely has a $75 million agreement been defined so exclusively by what it isn\u2019t.\u00a0<\/span><\/p>\n

Interestingly, the investment matches the size of <\/span>A24\u2019s last funding round from Thrive Capital<\/span><\/a>, a modest transaction on paper. Yet within hours, the verdict was in: A24 had sold out. Not for a fortune, either\u2014$75 million wouldn\u2019t cover a Marvel reshoot. Fans took to Instagram and X to accuse the studio of betraying the audience that built it, revealing that the deal\u2019s terms mattered far less than what it signaled about A24\u2019s judgment. A24 has spent roughly 15 years building exactly the kind of tastemaker authority Silicon Valley can\u2019t manufacture in-house, which is precisely why Google wanted a seat inside it rather than a stake in something bigger.<\/span><\/p>\n

The tastemaker premium<\/b><\/h3>\n

Call it the tastemaker premium. It has nothing to do with assets and everything to do with a cultural stamp of approval strong enough that audiences can name the directors behind it\u2014Ari Aster, Robert Eggers, Celine Song\u2014the way an earlier generation reeled off Brad Pitt and Tom Cruise. I\u2019ve spent a career watching brands try to buy this. It isn\u2019t for sale, and the tastemaker premium is what the market charges you for not having it.<\/span><\/p>\n

This premium is what makes the Google deal so fraught, and history offers a useful set of controls. Vice built a genuine counterculture brand out of a skateboard magazine. Then it scaled aggressively on economics that were never there. Then it died. Pixar built animation\u2019s own tastemaker brand on an obsessive, review-heavy process. Disney absorbed the studio and diluted the process into a sequel-heavy pipeline. Pixar didn\u2019t fail, but it stopped being the reason you bought a ticket.<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

HBO is the counter case. Its old tagline, \u201cIt\u2019s not TV, it\u2019s HBO\u201d survived AT&T, then Warner, then the ill-fated rebrand to Max that buried that equity under undifferentiated content before execs reversed course. HBO still produces some of the most-watched shows on television while remaining recognizably the tastemaker brand behind a portfolio spanning genres and demographics\u2014from prestige dramas to a show like <\/span>I Love LA<\/span><\/i>, built around a single distinct creative voice in the tradition of <\/span>Girls.<\/span><\/i><\/p>\n

The mechanism that separates HBO\u2019s outcome from Vice\u2019s or Pixar\u2019s is what could be called scarcity discipline: a tastemaker\u2019s willingness to say no to volume, even when volume is available. Star Wars illustrates the cost of abandoning it. Disney mandated a film per year plus multiple television series, soliciting pitches across every genre, until the brand\u2019s trusted power eroded in direct proportion to its output. The failure wasn\u2019t craft. <\/span>Andor<\/span><\/i> and <\/span>The Mandalorian<\/span><\/i> are genuinely good extensions. It was volume pursued without a clear-eyed authorship over one of the most revered IPs in history. HBO\u2019s <\/span>Game of Thrones<\/span><\/i> universe treads the same tightrope more carefully. <\/span>House of the Dragon<\/span><\/i> and the smaller <\/span>A Knight of the Seven Kingdoms<\/span><\/i> extend the IP without creating the sense that the well is being drained for its own sake.\u00a0<\/span><\/p>\n

Trust under new ownership<\/b><\/h3>\n

Cultural credibility survives scale only when the audience believes a media owner would rather protect its tastemaker judgment than exploit its reach, a distinction FX has managed to keep alive through its \u201cFearless\u201d identity, most visibly in a subtitled period drama like <\/span>Shogun <\/span><\/i>that a more risk-averse network would never have greenlit. It\u2019s a fragile trust, and consolidation tests it directly: with the $110 billion <\/span>Paramount-Warner Bros. Discovery merger<\/span><\/a> now delayed by a twelve-state antitrust suit until at least mid-2027, HBO\u2019s next owner will decide whether its scarcity discipline survives a third round of M&A.\u00a0<\/span><\/p>\n

The same dynamic operates outside of studio walls. Christopher Nolan, for example, functions less like a director-for-hire than a <\/span>tastemaker in his own right<\/span><\/a>, a one-man version of A24 or Criterion whose tentpole dramas earn financial commitment a generic filmmaker could never secure, purely on trust banked over decades. Letterboxd is the platform version of the same test: its value comes from feeling untouched by any studio or streamer, and even hands-off acquisition by the likes of Amazon would likely damage that perception regardless of what changed (or didn\u2019t) operationally.\u00a0<\/span><\/p>\n

In both cases, the asset being protected is the audience\u2019s belief that nobody is steering the recommendation toward a commercial outcome.<\/span><\/p>\n

A24\u2019s next move<\/b><\/h3>\n

A24\u2019s path forward likely runs through the same playbook\u2014staying artist-led, letting filmmakers make ambitious swings inside a recognizable ethos and resisting the instinct to flood the platform in pursuit of scale. The portfolio can broaden, but indifference can’t creep in. Every project, partnership and expansion has to clear the same bar: does this feel like A24 to the community that made the brand valuable?<\/span><\/p>\n

The studio has already extended its footprint thoughtfully through Cherry Lane Theater and merch that reads as culture rather than licensing. A24 hasn\u2019t sold out; it\u2019s done something reasonable. The hard part comes next: holding its nerve\u2014ethos first, growth second\u2014while balancing scale with a distinct creative voice, without losing the faith of the audience that made the brand valuable in the first place.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Perfect Stranger\u2019s Daniel Fries unpacks what Google Deepmind\u2019s $75 million investment in A24 reveals about the changing economics of cultural power. Fries argues that A24\u2019s greatest challenge as it scales lies in preserving the cultural credibility it has spent years building. <\/p>\n Read More<\/a>","protected":false},"author":177935337,"featured_media":1691060,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"_ef_editorial_meta_date_issue-date":"","_ef_editorial_meta_checkbox_needs-photo":"","_ef_editorial_meta_number_word-count":"","_ef_editorial_meta__first-draft-date":"","_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"post_tag":[423982741],"company":[423814899,423807485,423997483,423795137,22289,423944616,46637002,423975146],"channel":[186,423868938],"location":[],"nyo_column":[423982261],"person":[423881891,423975953,423943110,423971261,423881874,3655],"nyo_post_hidden":[],"coauthors":[424019280],"class_list":{"0":"post-1691032","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"tag-media-experts","8":"observer_company-a24","9":"observer_company-fx","10":"observer_company-google-deepmind","11":"observer_company-lionsgate","12":"observer_company-paramount","13":"observer_company-pixar","14":"observer_company-thrive-capital","15":"observer_company-warner-bros-discovery","16":"channel-business","17":"channel-media","18":"nyo_column-expert-insights","19":"nyo_person-christopher-nolan","20":"nyo_person-celine-song","21":"nyo_person-ari-aster","22":"nyo_person-robert-eggers","23":"nyo_person-tom-cruise","24":"nyo_person-brad-pitt","25":"style-expert-insights"},"acf":{"homepage_position":"","homepage_title":"","homepage_excerpt":"","alternative_og_image":"","headline":{"seo_headline":""},"subheadline":{"optimized_seo_description":"","optimized_social_excerpt":""}},"apple_news_notices":[],"parsely":{"version":"1.1.0","canonical_url":"https:\/\/observer.com\/2026\/09\/a24-deepmind-trust-cultural-power\/","smart_links":{"inbound":0,"outbound":0},"traffic_boost_suggestions_count":0,"meta":[],"rendered":"","tracker_url":"https:\/\/cdn.parsely.com\/keys\/observer.com\/p.js"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/observer.com\/wp-content\/uploads\/sites\/2\/2026\/09\/GettyImages-2269580473.jpg?quality=80","coauthors_byline":"By Daniel Fries","display_channel":"","thumbnail":"\"Robert