As Streaming Peaks, Sony, Universal & Others Prove The Lucrative Power Of Theatrical Windows
With the box office rebounding just as 5K attendees are reconvening at CinemaCon in Las Vegas, exhibitors and studios can rest easy knowing that there’s a return to a theatrical window. For most studios with tentpole fare, that’s 45 days, and for those titles with less commercial appeal or aimed at specialty audiences, it’s 17 days.
With a summer box office that’s loaded with such window-respecting movies as Doctor Strange in the Multiverse of Madness, Top Gun: Maverick, Thor: Love & Thunder, Jurassic World: Dominion, Lightyear, Elvis, Nope, Bullet Train, and more, it’s pretty safe to say that most of the majors have gotten day-and-date out of their system. They’ve largely learned that collapsed windows siphon ticket sales, spur greater piracy and infuriate talent. Studio executives are re-awakening to the power of windows, and if there’s any indication as to which way the wind is blowing, many architects of theatrical day-and-date — i.e. WarnerMedia Head Jason Kilar — have left the lot.
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Main image credit: Zoë Kravitz is Catwoman to Robert Pattinson’s Caped Crusader in ‘The Batman.’
