Even before “Wicked” opened, the movie’s signature green and pink colors were turning up everywhere, from drinks topped with matcha foam at Starbucks to aisles lined with merch at Target. This cultural bludgeoning was, of course, orchestrated. Todaybonus365, not even large marketing budgets can achieve such ubiquity without help.

Attention has become fractured. Audiences, siloed in their social media feeds and choose-your-own-adventure streaming sites, are ever harder to reach. Only by partnering up, as “Barbie” did by collaborating with 165 brands last year, can a promotional campaign become truly inescapable. “Wicked” went even bigger, teaming up with over 400 brands to ensure a saturation that would be, in the words of Universal Pictures’ chief marketing officer, Michael Moses, “just short of obnoxious.”

It’s just the latest example of how the culture industry has come to rely on collaborations. Brands pair up with other brands in endless permutations. Fashion companies and visual artists routinely partner, as in the case of Louis Vuitton and Takashi Murakami, whose landmark collaboration will soon resume. Around a third of the songs on Billboard’s Hot 100 involve a guest feature or collab (compared with under 10 percent a generation ago). At a time when culture feels stagnant, collaborations help artists and brands generate an air of originality without having to innovate.

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This frisson of newness has often been enough to capture media attention and entice consumers. But as commercial alliances have proliferated, their effect has diminished. Fatigue is setting in. “Wicked” participated in more than twice as many collaborations as “Barbie” yet brought in only half its opening-weekend box office take worldwide.

Could it be that we’ve reached peak collab?

Collaborations have become formulaic, fusing random elements from all corners of culture, until everything seems fungible: Baccarat and Hello Kitty, Louvre and “Joker: Folie à Deux,” the N.H.L. and Lululemon, M&M’s and Kate Spade. The ease with which such diverse offerings are lumped together only exacerbates the feeling of monotony and exhaustion. All culture is deployed in the same way, as if what distinguishes it — its history, form, industry or genre — couldn’t matter less. Collaborations appear increasingly desperate, more about profit than creative synergy or shared values. Louis Vuitton’s upcoming Murakami re-edition promises to be “a surefire sales smash,” as Highsnobiety put it, even if it’s also “a cash-conscious maneuver reflective of tumbling luxury revenues.”

But the formula plays well to the algorithms that power social media and dictate what we see online. Designed to anticipate what we want, these algorithms favor content with a proven history — the safe and familiar over the experimental and untested. New content composed of existing elements, like mash-ups of established artists and brands, hits the sweet spot. This preference has only amplified the incentives leading culture away from the lone visionary and toward joint authorship for decades. In hip-hop, guest features started as a means of creative exchange before proving their value as a commercial draw.

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Calls for school crackdowns have mounted with reports of cyberbullying among adolescents and studies indicating that smartphones, which offer round-the-clock distraction and social media access, have hindered academic instruction and the mental health of children.

Overall, violent crime fell 3 percent and property crime fell 2.6 percent in 2023, with burglaries down 7.6 percent and larceny down 4.4 percent. Car thefts, though, continue to be an exception, rising more than 12 percent from the year before.

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