KPOP Demon Hunters is a box office success that reveals the hypocrisy of Netflix

“KPOP Demon Hunters” is now The most watched Netflix movie in all timesI recently exceeded “red notification”. It is a great achievement of the animation feature, which has become an explicit cultural phenomenon, was the type that we hoped for for years. As an additional evidence for that, The film recently released the local box office for $ 19.2 million Through an event for only two nights singing. It was a few of the bosom of victory in favor of banners. It also revealed the company’s frustrated hypocrisy when it comes to theatrical versions.

For years, Netflix used theaters very little. Most of the time, any theatrical operation is in a minimum, and short, to a large extent to secure the award season to get the BRISTEL photos such as “The Irishman” or Edward Berger. All the time, Co-CEO TED SaAndos was clear when it came to the company’s position on theaters.

“Through this year (across this year (through this year (through this year) (across this year,” said Sarandos. diverse). “It is an old concept.”

For this reason, Netflix will not adhere to long theatrical windows. This is partly why the company has not officially compared the “KPOP Demon Hunters”. That is also the reason They have recently lost the creative “Stranger Things”. Despite the constant importance of the ticket office to the public health of the film, Sarandos was strong in believing that theaters were old. He speaks further at the top, put his feelings:

“What is the consumer trying to tell us about? They want to watch movies at home, thank you. Studios and theaters revolve around in an attempt to keep this 45 -day window that does not completely end with the consumer experience in just a movie love.”

In fact, theater owners like the CEO of AMC Theate ADAM ARON begged to the Hollywood Studios to return to the exclusive theater windows for 45 days before the large films are available to watch at home on VOD. When it comes to Netflix, AMC is quietly hostile, so that he refuses to play “KPOP Demon Hunters” because the company is not committed to any level of theatrical uniqueness.

What is frustrating about the success of “KPOP Satan” in theaters is that it allowed Netflix to benefit from this industry that Sarandos is ready for the public as outdated. It may be 19 million dollars a decrease in the bucket For a company that achieved revenues of $ 37.5 billion last yearMore than the total global box office combined. However, if Netflix really believes that the box office is old, then why should they benefit from it in any way?

“We have these detailed versions,” Sarandos explained at the top. “We have to do some qualifications for the Academy Awards. They have to run a little, as it helps in the press cycle a little.”

Certainly chains such as Regal and Cinemark have benefited greatly from “KPOP Demon Hunters”, and for this reason they were ready to carry the movie. Netflix knows this. At the same time, it is crazy that Sarandos be very frank about its use of the theatrical system as it exists, only when they must, for their benefit. It is not supposed to be a mutual exchange. AMC is right not to want to play the ball with them.

The situation will become more evident in the coming months/years. Greta Gerwig is expected to receive the IMAX version next year. This is largely to please GERWIG, which starts from the crazy success of “Barbie”. But the theater owners are not happy because Netflix will get the valuable IMAX screens that can – and perhaps – go to another large studio version will actually get a more logical and exclusive theatrical window.

There is a reason for “Glass Onion”, Daniel Craig, the Netflix model is F **** D. There is a reason for more directors preferred deals that include theatrical versions. There is a reason for the frustration of the theaters due to Netflix’s rejection of their work, yet they continue to use it when it is useful to do so. It is flagrant hypocrisy, easy and simple.

Whether Netflix should invest more in the theatrical distribution, it is another conversation, but in the way that there are things, it is clear that any benefit you receive under the current system is not due at best, and in the worst cases an insult to those who work to maintain the theatrical experience alive.