Netflix’s Ted Sarandos Passionate About Films: But Is He Really Sincere?

The times are indeed changing. Echoing the famous line by Jack Nicholson’s character Col. Nathan R. Jessup in the movie “A Few Good Men,” Ted Sarandos, Netflix’s co-CEO, has openly expressed his views on the fading relevance of traditional movie theaters. During a conversation at the Time100 Summit with Time magazine’s editor-in-chief Sam Jacobs on April 23, Sarandos remarked, “People used to dream of making films for the big screen, to be watched by audiences in theaters for a couple of months, with all the emotional engagement and sold-out shows. That’s becoming increasingly rare.”

When Jacobs queried whether the concept of movie-going is “outdated,” Sarandos agreed, suggesting that while it may still be desirable for those in places like Manhattan who have easy access to theaters, it isn’t the case for the majority. He stated, “For most people, and not everyone, if you’re lucky enough to reside in Manhattan where you can just stroll to a multiplex, that’s great. But that’s not the reality for most of the country.”

One might argue with him by pointing to director Ryan Coogler and the massive crowds flocking to theaters for the movie “Sinners,” making it the cinematic event of the year. Has any Netflix release ever achieved such widespread cultural impact and excitement? The simple answer is no. Streaming platforms like Netflix offer a secluded viewing experience that doesn’t quite generate the same communal buzz as a theatrical release. While series on small screens might become viral sensations, films on streaming services rarely permeate the cultural consciousness in the same way that seeing “Sinners” on a massive screen does.

Another point of contention is Sarandos’ implication that the magic of movie theaters is only preserved within the confines of Manhattan, which seems a bit disconnected. Living in Manhattan, I sometimes enjoy walking to a nearby cinema. However, consider someone living in cities like Denver, Atlanta, or even smaller towns and suburbs across the country. These residents use cars to travel to various destinations including cinemas. Sarandos knows this, yet his comment about Manhattan appears to be a jab at what he perceives as “East Coast elites,” suggesting that ordinary Americans elsewhere have moved past the traditional cinema experience.

This viewpoint is less about describing current trends than it is about promoting a preferred narrative. Sarandos seems to envision a world where everyone stays at home streaming on Netflix, while movie theaters sit abandoned, echoing dystopian scenes from “Escape from the Planet of the Apes.” This isn’t just an observation; it’s a business strategy Sarandos is keen to see realized.

Sarandos is a charismatic leader who cleverly uses public relations to further his vision of a cinema-less world. Despite claiming a love for traditional cinema, his actions suggest otherwise. Netflix has indeed purchased and restored iconic theaters like New York’s Paris Theater and L.A.’s Grauman’s Egyptian Theater, but these are not active cultural hubs; they are more like living museums, relics of a bygone era.

In his strategy, Sarandos has attracted top filmmakers like David Fincher and Rian Johnson to Netflix, offering them huge budgets and the promise of limited theatrical releases, mainly to qualify for awards. Yet, these releases are often so brief and limited that they barely register.

For instance, Rian Johnson, director of the “Knives Out” sequels now under Netflix, expressed a desire for his upcoming film “Wake Up Dead Man” to have a significant theatrical run. However, the reality under Sarandos’ regime is quite different. Netflix’s strategy of limited theatrical engagements, exemplified by the brief release of “Glass Onion: A Knives Out Mystery,” underscores a reluctance to embrace cinema’s full potential in favor of promoting streaming viewership.

The streaming revolution is undeniable and has significantly shifted how audiences consume media. However, by declaring the cinema experience as “outdated,” Sarandos is not merely acknowledging a shift but actively trying to accelerate the demise of movie theaters. This stance is critical for industry insiders to recognize, identifying those who support the enduring value of cinema and those who do not.