I'd say in response that he's missing (or, at least, gestures towards but doesn't explore) an element of post-modernism - at least in literary criticism, which I know more about than specifically film - which is that it's inherently a critique of power relationships. The key post-modern observation is that all narratives are deliberately constructed - in other words, someone chooses what to include and what to leave out - so Who tells a story, and Why they tell that story in that particular way, in order to advance What view of the world is instrinsic to understanding them.

Maybe we - artists, critics, and audiences alike - are generally exhausted by that right now. Politics are particularly fraught, and decades of post-modern art and thought certainly can't claim to have advanced utopia, so what we're calling meta-modernism is certainly a response, but it's closer to (my generation's rallying cry) "whatever, man", than it is advancing a solution to anything we see ailing the world at the moment.