But even more perplexing to consumers, release plans aren’t even consistent by studio Universal’s animated feature “The Boss Baby 2” is launching in theaters on the same day it bows on Peacock, where subscribers can watch it for free. From Universal, “F9” and “The Forever Purge” are screening in cinemas for an unknown period of time before jumping to premium video-on-demand.
Paramount’s “A Quiet Place Part II” is playing in theaters for 45 days before moving to Paramount Plus, while Warner Bros.’ offerings “Space Jam: A New Legacy” and “The Suicide Squad” are premiering on the big screen at the same time as they land on HBO Max at no extra cost to subscribers.
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To wit, nearly every major movie that’s opening in theaters this summer is arriving in a different manner. In practice, it’s hard to imagine how the average consumer, one who likely couldn’t tell the difference between a movie from Paramount, Sony or Universal, is expected to keep track of rapidly changing trends in film distribution. In theory, it provided a rare opportunity to revitalize a slow-to-change system. When the pandemic forced movie theaters to close, the one-size-fits-all model to debuting theatrical movies went out the window, leaving cinemas in the lurch as traditional Hollywood studios forged strategies that were more favorable to distributors. That’s become increasingly clear as the box office attempts to recover from COVID-19. “For every marketing department around town, it’s a new, real consideration that part of your job is not just to event-ize a movie, but to educate consumers about the where and how,” one studio marketing executive says on the condition of anonymity.
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It’s a problem that will only become more pronounced as theatrical windows continue to shrink and blockbuster movies move more freely between subscription streaming services. Now, the blurring line between streaming and theatrical releases is putting an extra layer of work on the consumer to figure out where and when a movie will be available. For decades, there was one way for audiences to experience a new film: in theaters. Not only can I not afford to sign up for every streaming platform, but I also don’t want to have to do that.”įollows’ exasperation is all too common in an age where new movie distribution patterns are regularly being establishe d, fractured and reset. “I’ll go through a ridiculous experience of going online… it says it’s on Netflix but it’s not there, and then a friend says it’s actually on HBO Max. A friend will recommend a movie to watch, and thus begins an arduous mission to find out where she can actually view said movie. For Samantha Follows, a 54-year-old bartender in Los Angeles, the frustration has become routine.
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