That's exactly it though, modes of distribution are changing and the privileged and pretentious are getting their jimmies rustled over it, the others are embracing the change and using the myriad of new venues to distribute their work. There has never been more opportunities for success than today with the streaming wars going on, that's a fact. It's not that those creators don't have room anymore, there's more room for them to be economically empowered than there ever has been; it's as close to infinite as it's ever been, especially for original programming. Those auteurs are already here, there's just so much opportunity now that they aren't 3 of hundreds, but are maybe 50 of thousands of creators now. You just might not ever get a chance to experience all of their works now, whereas in a past time, you'd know because they'd be one of five getting stamped at the Academy Awards.
This is why I brought up those other filmmakers earlier. Most of them just can't get over the fact that people don't consume media in the way that they use to, even if their own projects like the Irishman take advantage of them. They, like every other person who grows older, get a little set in their ways and long for what things were like when they were younger. I empathize a bit with the perceived loss of the cinema-going experience, including very big issues like the pressure and strong-arming Disney puts on cinemas and of course the aforementioned monopolization. The issue is framing that as a flat loss instead of knocking on Netflix' door where most of those same consumers have moved anyways to go see Roma and the like.
There's a pretty good parallel here between the dominance of trap in the mainstream, and literally every other subgenre STILL having greater reach and exposure than ever before. Scorsese (sentiment, not talent-wise) is like those 00s NY rappers who are hooting and hollering that people don't fuck with real rap anymore.
