I don’t know whether this is a game-changing deal or merely a way to get super-flops into the post-theatrical afterlife faster, but it is interesting. Yes, there are awards season-related questions in terms of theatrical exclusivity, but I’m sure Universal will figure that out before the next 1917 opens in theaters. The ideal situation is one where a less-than-commercially optimal title, like (for example) Focus Features’ allegedly terrific Promising Young Woman, gets two weeks of nationwide theatrical play before, whether it stays in theaters or not, debuting on PVOD. aligns with Cinemark while Disney aligns with Regal for this sort of thing. I could easily see a situation where Warner Bros. And I will be curious as to what metrics are used to determine which titles debut on PVOD well ahead of the 90-day window beyond just “we opened it and nobody showed up.” Honestly, if this were an industry-wide (every studio and every theater chain) move, it would probably be less complicated, but one big studio aligning with one big chain for movies that will presumably play in every major theatre chain is a recipe for squabbling. The risk, and this was always the case with this kind of thing, is consumers understanding that a given theatrical release, especially one that performs poorly on opening weekend, may just be available for PVOD just weeks later.
The other quibble is that, yes, some of these movies could remain in theaters while being available on PVOD, which presumably protects the rival chains for whom a given theatrical release is doing fine.
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