Since streaming platforms occupy a wholly different side of the film market, it’s disingenuous to say they represent the norm when considering their eligibility in awards.
Outside of America, global box office and attendance hit an all-time high in 2019.
Films shown in the cinema are also more likely to start a conversation. Disney still considers it’s major new titles to be ‘event films’, presumably because their influence permeates far beyond the screen, and even before release. While some culturally relevant movies might pop up on streaming platforms first, like Bong Joon-Ho’s Okja (2017), the richness of the cinematic experience will always leave a greater impression in the minds of viewers and critics.
This is what film awards capitalize on. They know the cinema offers a uniquely dramatic experience, compared to the casual nature of streaming movies. The Irishman is an outlier since it was always intended for the big screen and was nearly distributed by Paramount. That film also went home empty-handed at the Oscars, possibly for being too bloated- had it abided by studio standards it may have been trimmed and become more accessible as a result. There’s also no way of predicting how well such a film would have done with a more conventional release, and Netflix has further obscured matters by not reporting on the success of their properties.
It is clear that streaming will outlive TV. But as a platform to debut industry-defining films, it is not becoming the new normal.