Over the weekend, Disney did something quite unprecedented: she emailed reporters about the total numbers of her coffers. Why? Well, that was also unprecedented: his latest film, Marvel Cinematic Universe, Black widow, brought in more than $ 60 million in on-demand video sales at Disney +. That was in addition to the 80 million dollars that the film shot in the country and the 78 million dollars that it made from international markets. Black widow, it seems, was a success – one of the first to use a hybrid release model and the largest since the Covid-19 restrictions closed most cinemas in 2020.
After more than a year uncertainty in Hollywood about the future of the theatrical experience and how disturbing it would be to stream it, this news was huge. “In the past, many in the industry feared that streaming day and date or premium video on demand would be completely cannibalistic for theatrical revenue,” says Sarah Henschel, a streaming analyst for Omdia. “Black widow it shows us that this is not true. “In other words, the gamut of releasing movies in cinemas on the same day when they are available for streaming or renting – a practice more common in the indie film world, which has been accepted for major studio releases since the closure of the Covid Theater – has proven feasible.
But what’s up Black widowIs the global stake greater than $ 218 million largely for the future of film releases? It’s a little more complicated. Yes, the studios – specifically for Disney – are probably relieved that it seems possible to play movies on streaming services and in cinemas at the same time and still make money. But not all studios are Disney and not all movies Black widow—The latest feature film in Marvel’s Juggernaut and film seemingly loved by critics and audiences.
Those looking for proof can’t look any further than, well, some other Disney releases this year. Cruellafor example, he brought in about $ 21 million in the country during his first weekend. Paradise and the last dragon barely broke $ 8.5 million. Admittedly, they both came out in the spring when audiences could still go to theaters, but they also didn’t elicit emails about how much money they made at Disney +, so their overall streaming may not have been as impressive. Also worth noting, Warner Bros. Tom and Jerry, which came out a week before Raya, was available for free to HBO Max subscribers and earned more than $ 14 million while Raya, as Black widow, was rent for $ 30. In the meantime, this weekend Summer of Soul—Kuestlove’s documentary about the Harlem Cultural Festival in 1969 earned about 1.4 million dollars, although it was available to Hulu subscribers.
All that needs to be said is theft. Whether a film succeeds in theaters or on streaming depends on the type of film and the audience it serves. While there is no doubt that the traditional 90-day window between a cinema show and its debut on streaming / VOD is permanently closing or at least shrinking, how studios – and, for that matter, theater chains – will move full of openness of question. For a movie with a built-in fan base like Black widow, it doesn’t make sense: put it in theaters for big screen fans and send it to Disney + for families who happily throw in $ 30 so they don’t have to pack everything in a car or worry about Covid-19. For such a film F9, which is part of a franchise built around a film experience, only keep it in theaters for at least a few weeks. India can go to the arthouse and to streaming the same day – cinephiles will find cinemas, everyone else will Netflix and relax. Meanwhile, a movie like Dune probably has enough hype for HBO Max to go the same day as in theaters and still make money, as the adaptation of Frank Herbert’s science fiction classic Denis Villeneuve is the kind of thing longtime fans would like to experience in multiplexing. These strategies are likely to switch film to film, but the fact is that film release patterns will not return to where they were before 2020. “I expect many of these hybrid publishing strategies to vary depending on the title,” Henschel says, “but they’re there to stay.”