Immersed in The Future

By Marco E. Bruscoli, WolfBrown

2024 has been the most ambitious and turbulent year I’ve witnessed in the immersive experiences sector. We’ve tracked significant growth among both boutique and major producers who, while operating beneath mainstream radar, are methodically constructing the framework for next-generation interactive entertainment. Yet, the immersive experiences market remains fragile, with an evolution that is proving difficult to interpret.

The first part of the year was marked by several “negative” headlines, including the closure of Sleep No More in New York, which, since its announcement, extended operations by over a year until January 2025 (impressive for a show running for over a decade). During the same period, industry press circulated numerous reports about The Sphere’s alleged financial underperformance. This remains difficult to verify given the numerous sold-out shows, particularly Anyma’s late Dec. shows, which consistently sold out within hours and added 7 additional dates – a clear indication that quality products drive ticket sales. Additionally, there’s the recent news of Meow Wolf reducing its workforce by 20%. Throughout all this time I’ve frequently reflected on a statement by Charlie Miller, Denver PAC director, during the Immersive Immersive conference in Denver that particularly resonated with me: “The first generation of immersive experiences is concluding, and another is beginning.”

At IITF, we’ve been exploring fundamental questions about our engagement with non-profit arts organizations: how can we effectively integrate next-generation immersive experiences into traditional performing arts? More critically, what strategies can we implement to avoid repeating past missteps in this dynamic landscape?

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