Chaotic strikes, COVID, the streaming wars – despite more drama than your average flick, the future for cinema is bright

First there was COVID. Now we have writers’ strikes and release date turmoil. Cinema cannot seem to avoid being stuck in a never-ending state of chaos but, despite all this there is plenty for audiences, brands, and media planners to be excited about, so argues Jay Hopkinson, AV coordinator at Republic of Media.

The last writers’ strike took place in 2007 and lasted for fourteen weeks. The dispute centered on pay and the rapid expansion of new forms of media and online forms of entertainment challenging the livelihoods of an industry. Those fourteen weeks it lasted had a chaotic impact on the film and TV industry with projects postponed, cancelled, or re-written.

Sixteen years later – with an agreement just reached to end the latest writers’ strike – we are seeing a similar impact to that felt in 2007, compounded by actors also striking this time. It has meant that huge productions such as Mission Impossible: Dead Reckoning: Part 2 and the highly anticipated Gladiator sequel have ground to a halt. TV and streaming have also felt the effects this time, with prestige shows such as ‘The Last of Us’ and ‘Stranger Things’ halting production. The late 2023 release schedule has been impacted with ‘Dune: Part Two’, one of the most anticipated films of the year and Marvel’s next Spider-Man film ‘Kraven the Hunter’ both being delayed. Many more titles have also had their release dates changed.

The ripple effect will certainly be felt throughout 2024. There are less films releasing in the remaining window of 2023, but the early summer window of 2024 is already overcrowded. The biggest disruption will likely come in the second half of 2024, with fewer films being released owing to production schedules being disrupted, meaning cinemas may struggle.

This instability is hugely unhelpful for a form of entertainment still trying to rebuild after COVID and fight off the challenge of the numerous streaming platforms.

You would understand and probably forgive media planners who believe leaving cinema off plans is sensible. In an ever changing and complex age, the uncertainty of whether their cinema impacts will even run is a drama no one needs.

However – here are the reasons why I think we should be taking a more positive outlook on what is the last remaining channel where advertising is seen as a positive part of the viewing experience:

1. An agreement to end the actors’ strike should arrive soon and that could allow some productions to be released in their original planned window – meaning more certainty for media plans.

2. Despite the cost-of-living crisis, an impressive performance at the box office in 2023 suggests audiences are still happy to pay for the unique, one-of-a-kind experience that 65% of audiences agree “lets them escape everyday life further” – this trend is going nowhere.

3. Who escaped “Barbenheimer? Exactly. This global phenomenon has proven to the entertainment industry that there is an appetite for watching unique filmmaking and exciting stories unfold on the big screen. Both films exceeded expectations with the event making a combined £153.3million (£95.4million for Barbie and £57.9million for Oppenheimer). In fact, by the end of 2023, cinema admissions are forecast to finish on par with pre-pandemic levels. This year to date, admissions are up 10% on the same period last year.

4. Despite the impact of strikes the upcoming release schedule over the next twelve months is very strong with something to appeal to everyone from star-driven blockbusters (Dune: Part Two, Deadpool 3) to heartwarming family films (Migration, Inside Out 2) – plenty of reasons to keep people flocking to the big screen.

Cinema maintains its unique ability to reach audiences in a way that no other channel can. With consumer attention coming at more and more of a premium for brands, what other format can guarantee such an engaged audience for every impact delivered? 91% of cinemagoers are seated before anything is shown on screen – a viewability guarantee many digital platforms can only dream of. It’s a channel that will add incremental reach to AV plans, particularly for light, harder to reach viewers. Research has proven that audiences feel more engaged, excited, and attentive when sitting in the cinema as opposed to watching TV and 62% of cinemagoers agree that brands that advertise in the cinema are trustworthy.

Is there any brand that could say this is unappealing?

Throughout its history cinema has proven that it can overcome obstacles with the industry surviving and thriving despite economic difficulties, the rise in physical media and the ongoing streaming battle. I am confident the current dramas will soon be written off as just another bump in the road for what remains an essential form of entertainment.