The discussion about the demise of cinema has reached a record high since 2020 and the COVID-19 epidemic.
Since there are several offenders, ranging from pointless sequels to live-action remakes, the topic of what has been destroying film has been discussed for a long time without a definitive answer. One solution, however, has escaped people’s notice: direct-to-streaming releases.
When a film bypasses a theatrical run and instead appears on streaming services like Netflix—the most recent streaming provider to engage in this practice—it’s referred to as “direct-to-streaming.”
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Since 2021, Netflix has held an annual event called Tudum, which is named after the sound of the Netflix logo. During this event, the streaming service shows off new trailers or interviews performers to give a sneak peek at what’s coming to Netflix in the future.
Two films that I’ve been eyeing for a year or more received upgrades at Tudum 2025. These two films are “Frankenstein” by Guillermo del Toro and “Wake Up Dead Man: A Knives Out Mystery” by Rian Johnson.
At the event, trailers for both films indicated that they will be released on December 12 and November, respectively, although neither would be shown in theaters.
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I’m not surprised that Johnson’s latest movie is available on streaming services because the franchise’s first film, “Glass Onion: A Knives Out Mystery,” was also available on streaming services.
Nonetheless, the franchise’s first film, “Knives Out,” was released in theaters.
Johnson isn’t to blame for the direct-to-streaming release because, in an interview with Business Insider in May, he stated that he wanted “Wake Up Dead Man” to be available in as many theaters as possible.
Things didn’t hold up well when Johnson said, “We’re going to push for everything we can get in terms of theatrical because I want as many people as possible to see it in that form.”
Del Toro had a similar experience because his previous movie, “Pinocchio,” was also released directly to streaming services. He has frequently mentioned how much he loves movies and movie theaters.
The fact that these movies are being released directly to streaming services presents a challenge because Netflix’s viewership is smaller than that of cinemas.
Nevertheless, there is a counterargument to be made about how “Glass Onion” and “Pinocchio” are reaching a wider audience because they have had restricted theater releases.
However, that couldn’t be more untrue.
A month prior to its Netflix release date, “Pinocchio,” for instance, was permitted a limited theatrical run.
The crucial term “limited” in “limited theatrical release” is being overlooked, even if it seems like there is still plenty of time for the film to be seen by audiences outside of streaming.
Because the theaters where the film is set are typically inaccessible to the average moviegoer, restricting the theatrical release puts the picture backwards from the beginning.
Yes, it’s fantastic that it’s at a theater, but I can’t afford to travel to Los Angeles or New York City to see it there.
Since there has been no official announcement on the theatrical releases of “Wake Up Dead Man” or “Frankenstein,” it is reasonable to presume that they will not be getting any this time.
Despite Netflix’s dominance in the streaming service sector, movies by themselves won’t end cinema.
Rather, the industry will continue to be destroyed by the precedent Netflix is creating by normalizing the absence of theatrical releases.
From a commercial perspective, Netflix’s decision to forgo theatrical releases makes sense because they are vying for members with all the other streaming services, and having movies that are only available on Netflix encourages people to sign up.
What is the solution, therefore, if Netflix’s direct-to-streaming strategy is a smart financial decision and the lack of a theatrical release is an issue?
Fortunately, it has already occurred, albeit only once, due to “Black Widow” from the Marvel Studios.
On July 9, 2021, “Black Widow” debuted in theaters. The same day, it was also available on Disney+ with Premier Access, which is a little more expensive than the standard membership.
Disney’s hybrid release addressed both issues by enabling the regular theatrical release and providing Disney+ with a competitive advantage in the streaming service market.
While this would address those issues, other ones arise, like a significantly lower box office release and some contracts that do not provide adequate remuneration as a result, as was the case with “Black Widow’s” hybrid release, which prompted Black Widow star Scarlett Johansson to sue Disney.
The hybrid solution would be the best option moving forward if it were changed to be a separate fee specifically to watch a certain movie on the streaming service at the same time as the theatrical release and contracts with those involved with the movie both behind-the-scenes and on-screen.
Since no company wants to deal with lawsuits, which scared all the other firms after the Johansson lawsuit, this hybrid method is unlikely to happen again.
We will therefore all have to watch the film industry fight and gradually deteriorate for decades to come until another answer emerges.
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