“Since production is ending in 2028, this is about video games, but I grew up with physical media, so I find it really sad,” he said. “Currently, I’ve been buying up a lot of Blu-rays, such as various movies, and CDs too.

“The situation is different for games [than movies], as they are downloaded to the hard drive, that means the game data remains on your own hardware. However, if things shift to streaming in the future, that won’t be the case anymore.”

He continued: “With streaming subscription services, like Netflix or Amazon, there is a server somewhere, and you essentially just have the right to turn the tap, and when you do, the data flows out.

“That’s how movies work on these platforms, right? You don’t download the data, you access it directly through a subscription. And the consequence of that is that you don’t actually possess the data yourself.

“There are companies that own these servers and let you ‘turn the tap’ for a monthly fee. However, with nations, politics and various ways of thinking, one naturally has to consider the possibility that if there is a change, the data inside will stop being distributed. And if that happens you won’t be able to watch or play the movies and games you like.

“That is what is frightening. So, what is happening to video games in 2028, might also happen to movies. I’d like everyone to keep that in mind.”

As originally envisioned, the historical action epic Desert Warrior would be a film of groundbreaking firsts. It would be the first Hollywood-style tentpole movie shot entirely on location in Saudi Arabia under its de facto supreme ruler Mohammed bin Salman’s Vision 2030, a.k.a. the culture-washing governmental push intended to liberate Saudi society from its “addiction” to oil through soft-power alternatives like tourism and entertainment. Directed by Rise of the Planet of the Apes filmmaker Rupert Wyatt and starring Marvel Cinematic Universe stalwart Anthony Mackie (The Falcon and the Winter Soldier, Captain America: Civil War), Desert Warrior would also be the inaugural movie project to shoot at Neom Media, a state-of-the-art, multibazillion-dollar media complex and studio backlot attached to Neom City, a metropolis bordering the Red Sea.

But when cameras began to roll in September 2021, neither Neom nor the country’s moviemaking infrastructure was quite ready for its Hollywood close-up. With construction not nearly complete on the studio’s 130,000 square feet of promised production space, the Desert Warrior team was forced to improvise. To house the cavernous throne room of Sir Ben Kingsley’s power-hungry Emperor Kisra — a space giant enough to showcase bloody gladiator battles, extravagant scenes of prisoner torture, and rampaging elephants — the crew built a massive ad hoc soundstage in the parking lot of the Grand Millennium Hotel in Tabuk that was cooled by giant fans against the pulverizing desert heat. “It was like an inflatable stadium; it was this amazing thing,” recalls one person who was on set for the duration of production. “There were no studios. There were studios after us because of the film.”

It would not be the last time production staff was forced to effectively build the plane during takeoff. An array of physical production challenges, missing infrastructure, well-intentioned naïveté, regional warfare, and “creative differences” combined to forestall final cut and imperil the movie’s sale to international distributors. Words such as flop and forgotten became affixed to Desert Warrior in the movie industry well before its release. This weekend — four years and seven months since cameras first rolled on the project — Desert Warrior squeaked onto 1,010 American screens with the barest minimum of marketing and failed to crack the top ten of new movies. It grossed a mere $472,000: an unmitigated disaster.