 As major Hollywood studios and audiences both become savvy to cult films , productions once limited to cult appeal have instead become popular hits , and cult directors have become hot properties known for more mainstream and accessible films . Remarking on the popular trend of remaking cult films , Claude Brodesser @-@ Akner of New York magazine states that Hollywood studios have been superstitiously hoping to recreate past successes rather than trading on nostalgia . Their popularity would bring some critics to proclaim the death of cult films now that they have finally become successful and mainstream , are too slick to attract a proper cult following , lack context , or are too easily found online . In response , David Church says that cult film fans have retreated to more obscure and difficult to find films , often using illegal distribution methods , which preserves the outlaw status of cult films . Virtual spaces , such as online forums and fan sites , replace the traditional fanzines and newsletters . Cult film fans consider themselves collectors , rather than consumers , as they associate consumers with mainstream , Hollywood audiences . This collecting can take the place of fetishization of a single film . Addressing concerns that DVDs have revoked the cult status of films like Rocky Horror , academic Mikel J. Koven states that small scale screenings with friends and family can replace midnight showings . Koven also identifies television shows , such as Twin Peaks , as retaining more traditional cult activities inside popular culture . David Lynch himself has not ruled out another television series , as studios have become reluctant to take chances on non @-@ mainstream ideas . Despite this , the Alamo Drafthouse has capitalized on cult films and the surrounding culture through inspiration drawn from Rocky Horror and retro promotional gimmickry . They sell out their shows regularly and have acquired a cult following of their own . 
