Cinema is on its last legs according to Netflix boss who delivered a scathing verdict on the traditional movie theatre model.
CEO Ted Sarando branded cinemas an antiquated relic of a bygone era. His comments come at a precarious time for UK cinemas, with beloved independent venues are facing existential threats from rising costs and dwindling audiences.
Speaking at the 2025 TIME100 Summit in New York, Sarandos didn’t mince words when addressing Hollywood’s struggles. “What is the consumer trying to tell us? That they’d like to watch movies at home, thank you,” he declared.
He also dismissed the industry’s insistence on preserving theatrical release windows as “completely out of step” with modern viewing habits.
His remarks have ignited fierce debate, particularly in the UK, where cultural landmarks like the Prince Charles Cinema - a haven for film buffs and cult movie enthusiasts - are fighting to stay open. Could Sarandos’ vision of an all-streaming future spell doom for the communal magic of the silver screen?
"We’re Saving Hollywood, Not Destroying It"
Sarandos began his TIME100 Summit appearance with a provocative question from moderator Sam Jacobs: “Have you destroyed Hollywood?”
With a confident grin, the Netflix chief shot back: “No, we’re saving Hollywood.” His argument? That the industry’s refusal to adapt to streaming-first preferences is its own downfall.
While studios and exhibitors feud over release windows, audiences have already voted with their remote controls. “Netflix is a very consumer-focused company,” Sarandos said. “We deliver content the way people want to watch it.”
Yet his stance has drawn ire from filmmakers and cinema purists who argue that the theatrical experience is irreplaceable. For venues like the Prince Charles Cinema - known for its sing-along screenings and midnight movie marathons - the idea that streaming can replicate their unique appeal is laughable.
"Most of the Country Can’t Walk to a Cinema"
Sarandos didn’t hold back in his critique of the traditional cinema model, calling it an “outdated concept” for most viewers.
“If you’re fortunate enough to live in Manhattan and can walk to a multiplex, that’s fantastic,” he said. “But most of the country cannot.”
His comments strike a nerve in the UK, where rural and suburban cinemas have long struggled with accessibility. Yet, for urban independents theatres, the issue isn’t just location - it’s rising rents, competition from streaming giants, and the lingering aftershocks that the pandemic has left.
However, Sarandos insists he isn’t against cinemas. Netflix owns the historic Bay Theatre in Los Angeles and New York’s Paris Theatre, which he claims were saved from becoming pharmacies.
But his priority is clear: “We didn’t save them to save the theatre business. We saved them to save the theatre experience.”
Netflix is Hypocritical
Despite his dismissal of theatrical releases, Sarandos acknowledges that Netflix still plays the game when necessary. Films like Glass Onion and Emilia Pérez received limited cinema runs - not for audiences, but for awards eligibility.
“We have to do some qualification for the Oscars,” he admitted. “But I encourage directors to focus on the fans. Make a movie they love, and they’ll reward you.”
This half-in, half-out approach frustrates traditionalists. If Netflix truly believes in streaming supremacy, why court Oscar glory at all? For indie cinemas, it’s a bitter pill - studio blockbusters dominate screens, while streaming platforms cherry-pick prestige releases without committing to the wider ecosystem.
The Fight for Cinema
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When pressed on whether filmmakers’ dreams of big-screen glory are obsolete, Sarandos was blunt: “I think it is - for most people, not for everybody.”
That cold pragmatism may resonate in boardrooms, but for UK cinemas, it’s a dire warning. The Prince Charles Cinema has built its reputation on shared experiences - midnight Rocky Horror shows, Quentin Tarantino Q&As, and rare 35mm screenings. Can streaming ever replicate that?
Sarandos argues Hollywood must adapt or die. But for many, the question isn’t just about business - it’s about culture.
Netflix’s Unstoppable Rise
The summit took a lighter turn when Sarandos was reminded of a 2010 dig from former Time Warner CEO Jeff Bewkes, who compared Netflix’s threat to “the Albanian army taking over the world.”
Fifteen years later, Sarandos had the last laugh. “I’d say it in Albanian if I could,” he quipped.
The joke underscores a harsh reality: Netflix has won. But as UK cinemas face extinction, the cost of that victory may just be the loss of shared stories, of darkened rooms lit only by flickering screens.
For now, the Prince Charles Cinema and its peers battle on - the cinema has recently joined forces with A24, the studio behind some of this century's most talked-about movie for an unmissable week-long event. But with giants like Netflix declaring the multiplex model dead, the curtain may be closing on an era.
