When Rosenbaum was writing in 1995, a new world of cinephilia had to be created, and it waited to be ushered in via the internet. Today, serious film criticism operates in that world. Following the template established by Rosenbaum, it is fair-minded, open to films from all over the world made by all different kinds of people, and knowledgeable about classic cinema and the avant-garde. It seeks to rediscover forgotten films, it is supportive of micro-indies, and it strives to be polite and respectful. Trying to find the good in everything in this best of all possible subcultures, however, does little to improve an art form dominated by blockbusters and streaming television, especially when writing about those things dominates arts pages. At the same time, social media discourse around film fluctuates between too nice and too mean. The dearth of jobs in journalism, which has gotten worse year after year over the past two decades, had led to more and more film criticism being written for free on the web. Increasingly it is boiled down to tweeting, a form in which there is truly no upside but which commands the time and attention of many writers.