The inevitable comes, and the insidious nature reaps its way through. Netflix removing one of the big five theatrical heavyweights with the sole purpose of removing an aspirational theatrical distributor is going to be a debacle of sorts. Da** it!
And no matter how much political aspects rear their tormented head in, there are still a buttload of issues that will surely spawn for the future of the movie industry. What happened to the days of heading out with the family to watch a new motion picture in the multiplex? Somehow, Netflix’s most significant competition was not YouTube or another streaming platform, but theater chains?
Warner Bros. was becoming the Trojan horse for the industry as of late, whether it was tossing out a brand-new, fresh concept film (a la Sinners), bringing new IP adaptations to screen (A Minecraft Movie), or repackaging past reliable franchises (Superman). Heck, even the past years in the post-COVID world taught us that fresh ideas and bold directions could still keep the momentum flowing into theaters, and Warner Bros. recognized this concept to power through. F1: The Movie, Dune (and its Part Two sequel), Godzilla vs. Kong and Godzilla x Kong: The New Empire, Barbie, Wonka, The Batman, The Conjuring: Last Rites, and even Tenet showcased prowess in times of uncertainty. Barbie became the highest-grossing film for WB, domestically and globally.
And now, Netflix is through a selfish, amoral, cutthroat bit of capitalism, undercutting the progress of one of the industry giants, with the assurance that theatrical windows will still be around, yet capped off rapidly (see comments from Netflix’s co-CEO). Hence, the promotion of “everything, everywhere, all at once” comes to their turf. This isn’t evolution; it’s a perpetual knee-cap to what makes theaters profitable and sustainable in the long run. Who knows if Disney, Paramount, and Universal will be able to pick up the pieces; it’s more of an obstacle than ever to restore what we learned over the past five years.
Yes, Netflix might be able to take more whiffs than a big blockbuster project transcends screens, but that isn’t the point. Taylor Swift and Beyonce can bring to the screens, whereas Sabrina Carpenter and Olivia Rodrigo can slide to a streaming company with a nothingburger and evaporate the specialty of music specials. Knives Out: Glass Onion became the sequel to see on Netflix after its predecessor did its job on the big screen, much like most franchises Netflix bought out (see also Happy Gilmore 2). Red Notice became the big, monstrous go-watch-at-home blockbuster (even if the final product was a wretched example of how IP can easily corrupt). Back In Action was probably not what Cameron Diaz/Jamie Foxx envisioned for a return to their primes many years ago. The list goes on and on.
Warner Bros. defied conventional wisdom about what was possible in theaters this year, with new concept originals outpacing previous Marvel/DC features, and with A Minecraft Movie becoming the next Hunger Games. Even Oscar glory awaits for One Battle After Another. But Netflix might’ve added a poison pill to destroy the potential for significant earnings and the distribution outlets that would collect revenue from its movies going forward. Some might fear how the next era of Harry Potter, The Lord of the Rings, The Monsterverse, DC Heroes, and more will play out. No, it won’t happen overnight, but this will be the first chaotic crack in the ship that will lead it to sink someday.
It begs the lingering question: Does Netflix want to join Hollywood’s marketplace, or destroy it through corporate shenanigans/buy-outs?
Good luck to the other remaining theatrical giants.
