It's been a long time. Like Jack Nicholson's Colonel Nathan R. Jessip (Nathan R.) at the Time100 summit on April 23, Sarandos said in an interview with Time magazine editor Sam Jacobs: "People grow up thinking, 'I want to make movies on huge screens, have strangers watch plays in the theater for two months, people cry, ((((((((((()()) cry) and (has) sold out the show." It doesn't happen anymore."

Sarandos was asked by Jacobs if the experience of the movie theater was "outdated". Sarandos replied that when asked whether the desire to shoot a movie “for a cinema, experience it together” was “an outdated idea”, Sarandos replied: “I think – for most people and not everyone.

The first thing you want to say to him is: Tell director Ryan Coogler and millions of people who see "sinners" in cinemas and turn it into a movie phenomenon of the year. Question: There are movies on Netflix once Has buzz, excitement and cultural heat generated? The answer is no, because the reality is that you can't do this on Netflix. While streaming is now an integral part of our lives as entertainment consumers, it is a sealed experience that doesn’t breed the buzz of movies. (The situation is very different for small screen series like "puberty" or "squid games.") Of course, some movies turn into streaming tracks. But they did not enter the ether. They won't catch fire like "sinners." The excitement of this movie has been experiencing on the big screen, and its huge qualities can occupy.

The second thing you want to say to Sarandos is his comment on how the movie theater experience still lives in Manhattan - but, I guess, nothing else - makes no sense. I live in Manhattan and yes, sometimes I walk to the diversified car. But, suppose you live in Denver, Atlanta, Pittsburgh, Tucson, St. Louis or Providence, Cleveland or Dallas, or in a suburb or outside city. In those places, they have these things car People enter the destination. They go to work, go to shopping malls, go to restaurants, go to multiple roads. Ted Sarandos knows this, but the real meaning of his “Manhattan” line is to be passively attacked in “East Coast Elite,” who now expresses in his propaganda, are the only ones who still like cinemas. The real person is from the heartland and has continued to move forward!

It's incitement thinking, it reveals that the entire theory of Sarandos's experience of film theater, ending, finishing, outdated, only the relics of Manhattan Protein insistence are not a description of what happened, because it is an event desire. He describes the world he wants to see, and we all sit at home watching Netflix and multiplexed bodies empty and abandoned bodies, such as “Escape from the Planet of the Apes.” It was a great dream for Ted Sarandos. This is the business model he lives in.

But you might ask: Didn’t he say all this before? Not exactly. Not really. With so many words. Part of how Sarandos is a very clever and engaging character, how he exercises a public relations perspective in the metaphysical cultural strategy of fighting cinemas is to have a naughty sincerity, his own love for film. He expresses himself as a pious movie and talks about a great game about digging the theater experience. His company bought and renovated several legendary cinemas (Paris, New York, the Bay Theater and the Egyptian theater in Los Angeles) to use these venues as Netflix's love for cinemas. But it's all smoke and mirrors. These refurbished theaters mean they are museum Cinema, just faded past icons.

Currently, Sarandos has attracted directors such as David Fincher and Rian Johnson and Greta Gerwig to Netflix, all part of the two-handed strategy. He paid a hundred billion dollars in a way (for budget and salary). Meanwhile, he assured them that their film would receive a theatrical release. Technically, this requires reward consideration. But depending on the movie in question, the release will range from tokens to nominal to blinking to what you'll miss.

This is where the Manhattan idea actually proves relevant. If you live in New York (or Los Angeles), as most national entertainment journalists in the United States do, when Netflix movies turn on "In Theater," it may actually be playing in a theater near you. But if you live anywhere else, it won't. Now the director of Netflix Productions' "Knife" movie Rian Johnson, who recently gave an interview, seemed a little confused about all of this. He said he wanted the next "Knife" movie titled "The Dead of Awakening," "in as many theaters as possible," adding: "I want as many people as possible to see it in this form."

If so, then he is working for the wrong boss. Three years ago, Netflix allowed "Glass Onion: A Knives Out Mystery" to play for a week on 600 screens a month before its streaming release. During that dramatic film, a total of $13 million was made. At the time, many people asked: Why did Netflix leave so much money on the table? But the last thing Ted Sarandos wanted was to get "Glass Onion" to be released in theaters for a month and make $100 million. This would mean a weakening of his grand plans. He has assured Greta Gerwig that her upcoming Narnia Chronicle film will be played on IMAX screen for two weeks before being played on Netflix on Christmas Day. But how would Gerwig think of a potential hit movie when time comes…and then tug from the theater so that audiences can see it at home without buzzing anymore?

My point is not that the streaming revolution is overstated. It has, but it's too real. More and more people stay at home to watch movies, which represents a real threat to the future of cinemas. Attendance dropped by 20% (and maybe more if you consider it at a higher fare), which is a serious bonus. But Ted Sarandos came out to say that the film theater experience was “outdated”, as if it were horses and clumsy discs or compact discs, were doing something, not just acknowledging the difficulties faced by the industry. He wanted to bury the cinema before their time. He is trying to turn his wish into your order. I believe time will prove Ted Sarandos is wrong, but to me, he actually said these things well. For anyone in the entertainment industry who cares about the future of cinemas, it is important to know who is standing by you…who is not there.