In the aftermath of disruptive innovation, there are generally two groups trying to navigate the ravaged terrain. There are those who approach the rebuilding as a chance to improve and those who insist on rebuilding everything as it once was.
Somewhere there is still a photojournalist insisting that film will make a mainstream comeback. Every city with more than 100,000 people has a record store that preaches the prolific return of vinyl. Sure, there will always be artists and nostalgic hipsters, but as a preferred format, neither of these media will ever reclaim the title from the disruptive innovation they were replaced by.