As Streaming Peaks, Sony, Universal & Others Prove The Lucrative Power Of Theatrical Windows – CinemaCon

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With the box office’s rebound just as 5K attendees are reconvening at CinemaCon in Las Vegas, exhibition and studios can rest easy knowing that there’s a return to a theatrical window.

For most studios with tentpole fare, that’s 45-days, and for those titles with less commercial appeal or aimed at specialty audiences, it’s 17 days.With a summer box office that’s loaded with such window-respecting movies as Doctor Strange in the Multiverse of Madness, Top Gun: Maverick, Thor: Love & Thunder, Jurassic World: Dominion, Lightyear, Elvis, Nope, Bullet Train, and more, it’s pretty safe to say that most of the majors have gotten their jonesing for day-and-date out of their system.

They’ve largely learned that collapsed windows siphons ticket sales, spurs greater piracy and infuriates talent. Studio executives are re-awakening to the power of windows, and if there’s any indication to which way the wind is blowing, such architects of theatrical day-and-date, i.e.

WarnerMedia Head Jason Kilar, has left the lot.As Matthew Goode’s Robert Evans says in Paramount+ The Godfather series, The Offer, “You got brains, and you got balls” and that’s what it took for these studios, largely Sony, and yes, Universal, MGM/UAR, and others to bet on theatrical again as box office capitals LA and NYC reopened, and return moviegoing to some semblance of normalcy.Comscore Media Analyst Paul Dergarabedian recently pondered about the success of Sony/Marvel’s Spider-Man: No Way Home, saying “Can you imagine if it had flopped?” If that pic’s box office of $804.3M domestic, and near $1.9 billion global didn’t happen, there would be a lack of faith among the motion picture studios about theatrical.“We realize that the old ways of doing business are the