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Netflix once treated theaters like an afterthought—but in 2026, the story is more complicated. In this episode of iCritic LIVE, Kevin breaks down the streamer’s latest moves: from investing in theatrical comedies to promising 45-day windows for premium VOD, and even experimenting with IMAX releases for select titles. Is this a genuine pivot toward theatrical respect, or just strategic optics after the Warner Bros acquisition?

We’ll explore:
- Netflix’s 2026 film strategy and why it’s betting on originals over sequels
- The implications of its failed Warner Bros bid and what it means for theatrical releases
- How Dan Lin and Ted Sarandos are positioning Netflix in a post-pandemic exhibition landscape
- Whether the Stranger Things finale and Narnia IMAX release signal a lasting change—or a one-off stunt

Join the conversation as we ask: is Netflix finally ready to play by Hollywood’s theatrical rules, or is it just rewriting them?

#Netflix #TheatricalRelease #StreamingWars #FilmIndustry #iCriticLIVE #TedSarandos #DanLin #WarnerBros #MovieTheaters #FilmCriticism #Podcast

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🎬 What this livestream is all about
I’m teaming up with Rachel’s Reviews for a full, category‑by‑category breakdown of the 2025 Academy Awards—but with a twist. Instead of predicting what the Oscars will do, we’re deciding what the Oscars *should* do. Expect passionate debates, surprising agreements, and a few “how did the Academy miss this?” moments along the way.

🏆 Categories we’ll be tackling
- Best Picture
- Best Director
- Acting categories (with plenty of strong opinions)
- Screenplay races
- Animation,
- Best Song

🎤 Why this stream is special
Rachel brings her signature positivity and deep genre knowledge, while I bring the iCritic blend of film history, industry context, and occasional exasperation at the Academy’s choices. Together, we’re building our own version of the 2025 Oscars—one that actually reflects the movies we loved.

📺 Join the conversation
Drop your picks in the live chat, argue with us (respectfully!), and help shape the alternate Oscars ceremony the internet deserves.

Check out Rachel at her website: Rachel's Reviews

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This episode digs into the uncomfortable truth behind Pixar’s newest film: Hopper was never a candidate for hand‑drawn animation—not because the story demanded 3D, but because Disney and Pixar no longer have the infrastructure, workforce, or corporate will to make a 2D feature at all. What looks like a creative choice is really the result of two decades of strategic decisions that hollowed out Disney’s once‑legendary hand‑drawn pipeline.

We explore how Disney’s leadership gradually dismantled its 2D departments, why the studio let go of nearly all of its traditionally trained animators, and how the economics of modern franchise‑driven filmmaking pushed the company toward a permanent 3D default. Hopper becomes the perfect case study: a film that could have thrived in 2D, but instead reflects a studio that literally cannot produce hand‑drawn animation anymore—even if it wanted to.

Along the way, we look at how other studios around the world kept 2D alive, why Disney’s “2D doesn’t make money” narrative doesn’t hold up to scrutiny, and what the loss of this art form means for the future of animation. This isn’t just the story of one movie—it’s the story of how an entire medium disappeared from America’s biggest animation studio, and why Hopper is the latest reminder of that creative and cultural cost.

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If you would like to send me snail mail, please send all (legal) packages to:

iCritic
PO Box 2130
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All view are protected by the First Amendment and all images and video clips used are protected under Fair Use.