Netflix has reaffirmed its commitment to theatrical releases, confirming that Warner Bros. movies will continue to play exclusively in cinemas for a 45-day window if the proposed acquisition of Warner Bros. Discovery is completed. The announcement marks a clear shift in tone as the streaming giant seeks to reassure Hollywood and theater operators about its intentions.
Speaking in a recent interview, Ted Sarandos emphasized that Netflix has no plans to undermine the theatrical business. Instead, he framed cinemas as a vital revenue engine, stressing that the company wants to compete seriously at the box office rather than bypass it.
The 45-day theatrical window aligns with current industry norms and signals that Netflix is willing to preserve traditional release models for Warner Bros. films. Sarandos described the studio’s distribution network as highly valuable and profitable, noting that it generates billions in theatrical revenue that Netflix does not want to jeopardize.
If finalized, the deal would give Netflix control over Warner Bros.’ film and television studios, along with its streaming assets. That prospect has sparked concern across Hollywood, largely because Netflix historically prioritized streaming-first releases over long cinema runs.
Addressing those fears, Sarandos said earlier assumptions about Warner Bros.’ theatrical economics were incorrect. According to him, the studio’s cinema business has proven healthier and more profitable than Netflix initially expected, strengthening the case for maintaining established release strategies.
Industry backlash has been swift. Theater advocacy groups and some studio executives have warned that the acquisition could lead to fewer films in cinemas and potential job losses. Sarandos acknowledged the criticism but suggested much of it stemmed from uncertainty about Netflix’s theatrical intentions rather than concrete policy changes.
Despite the controversy, Netflix maintains that it is not anti-theater. Sarandos explained that the company’s previous lack of theatrical focus was driven by the rapid success of streaming, not hostility toward cinemas. He added that when audiences are given compelling reasons to attend theaters, they continue to show up.
Netflix has already tested this approach through limited theatrical events tied to major originals, which delivered strong engagement. These experiments, according to Sarandos, demonstrate that streaming platforms and cinemas can coexist and even reinforce each other.
The proposed acquisition has not yet closed and faces competition from rival bids. Still, Sarandos insists that a deal outcome is inevitable and that Netflix’s plan centers on running Warner Bros.’ theatrical operations largely as they exist today.
Looking ahead, Sarandos did caution that release windows could evolve over time to become more consumer-friendly. However, he made clear that any changes would be gradual and commercially driven rather than disruptive.
At the same time, Netflix continues to strengthen its studio relationships elsewhere. The company recently expanded its global movie output agreement with Sony Pictures Entertainment, underscoring its broader ambition to remain a dominant force across both streaming and theatrical markets.
With the box office still a powerful cultural and financial platform, Netflix’s stance suggests a more balanced strategy. By keeping Warner Bros. movies in theaters for a full 45 days, the company aims to prove that winning in cinemas can coexist with streaming success.
