A reminder to those who haven't read my posts before: I've been photographing and working in my own darkroom since the 1960s, have and use film cameras from 35mm through 11x14 and also employ electronic equipment for capturing images as well as to print those and files from scanned film.
All this "magic" talk is hype. A photochemical process is science, not magic. Magic? With the press of a button, my inkjet printers convert digits into the best looking prints attainable. Unlike gelatin silver papers available today, Hahnemuhle FineArt Baryta Satin prints made on my Canon PRO-100 have a surface that's of perfect reflectance. Shiny enough to support incredibly rich blacks, but not so shiny that they demand rigidly controlled lighting to view without being obscured by the veiling glare of reflections. A perfect color match for Rising mat board. No optical brightening agents to induce garish whites. And those prints "magically" spit out of a machine on my desk.
The only shortcoming of magical inkjet prints is that they have lower life expectancy than legacy gelatin silver prints. Note that we've no reliable data concerning the longevity of
today's darkroom papers. For almost everyone here, that's of no consequence. Look at the
Is there a really strong interest in film photography thread for some reality about how estate executors and legatees send almost all personal photos directly to landfills. That's been my experience with the three estates for which I was executor. In the case of exceptional people whose work might be of some value to the world at large, whether because they're famous and it's so-called "art" or they are doing HABS/HAER/HALS projects, shooting on polyester-base film and printing whichever way desired solves the image life expectancy problem for at least 500 years.
Bottom line: film is not dead -- yet. When the fad young people are driving of 35mm color to be posted on "social" media fades away (pun intended), the second great industry contraction will occur. That will result in prices which make what today's PHOTRIO posters moan about seem like the good old days. If an extremely small manufacturing base can still be supported by a market with extremely high levels of disposable income, some film will survive. We'll see.
Actually, some of you will see.
I don't expect that point to be reached within my actuarially probable remaining lifetime. It's like when someone hysterically scared about a non-critical medical issue ask their doctor "am I going to die?" and gets the answer "yes, but not today."