In a recent article from The Atlantic, business journalist Derek Thompson poses several compelling questions about the business model of contemporary theatrical distribution. Why, he asks, must we pay the same for Mission Impossible: Ghost Protocol as we do for Young Adult at our local multiplex? Wouldn’t it make more sense if the comparably underperforming film, Young Adult, were distributed with lower ticket prices in order to cultivate greater competition against wintertime blockbusters, and thereby (perhaps) gain a slightly greater audience for a film whose appeal is limited by comparison? After all, movie studios don’t so much “give audiences what they want” as much as they calculate degrees success (if you don’t believe me, go ask your local AMC to bring A Separation or Carnage to your theater), so why don’t ticket prices reflect this already-transcribed fate? It’s an interesting scenario to imagine, but one that becomes more difficult to envision once one parses through the details. As the author points out in his #4 reason why we have “uniform pricing,” varied pricing would likely create an unwarranted stigma against less expensive films, much like straight-to-DVD films have. That said, two other assumptions informing Thompson’s provocative question warrant further exploration: 1) we as consumers already have varied pricing, and we have developed patterns of determining a film’s “worth” in our choosing of where and in what conditions we see a film, and 2) movies would largely benefit if the perceived value of the opening weekend lessened significantly.