For many moviegoers, the actual start time listed on a ticket has become a suggestion rather than a rule. Between the local commercials, corporate sponsorships, and a relentless stream of upcoming previews, the gap between entering a theater and the first frame of the feature film can often stretch to half an hour. Now, one of the most powerful executives in Hollywood is telling theater owners that this habit is actively hurting the business.
Tom Rothman, the chairman and CEO of Sony Pictures, recently issued a blunt directive to exhibitors during a presentation at CinemaCon, urging them to drastically reduce the volume of pre-show content. In a move to protect the theatrical experience, the Sony boss urges theaters to stop 30 minutes of trailers and advertisements that he believes are driving audiences away from the very marketing intended to entice them.
“Receive off the ad crack,” Rothman told the audience of theater owners. He called for the industry to “get rid of the endless advertising and substantially shorten the long pre-shows,” arguing that the current model has created a counterproductive cycle of avoidance.
The Reserved Seating Paradox
The shift in consumer behavior, according to Rothman, is partly a result of the industry’s own modernization. The widespread adoption of reserved seating, while convenient for the customer, has removed the primary incentive for moviegoers to arrive early: the fear of losing a good seat.
Because patrons now have a guaranteed spot, frequent cinema-goers have begun timing their arrivals to bypass the pre-show entirely. Rothman noted that many people are now showing up 30 minutes late to avoid the advertisements. This creates a strategic failure for studios. the trailers meant to build hype for future releases are playing to a half-empty room, resulting in “enticements gone to waste.”
This trend highlights a growing friction in the theatrical model. While theater owners rely on pre-show ad revenue to supplement ticket sales, the length of these segments may be eroding the perceived value of the cinema experience, making the transition from home streaming—where a movie starts with a single click—feel even more jarring.
Defending the Theatrical Window
The push to trim the pre-show is part of a broader effort by Rothman to safeguard the “big screen” against the encroachment of digital platforms. He has long been a proponent of maintaining longer theatrical windows—the period during which a film plays exclusively in cinemas before becoming available on streaming or video-on-demand services.
During his CinemaCon address, Rothman pressed exhibitors to hold a firm line against the trend of rapid streaming releases. He encouraged theater owners to prioritize the exclusivity of the cinema experience, even if it means rejecting certain films that would appear on streaming platforms too quickly.
“Enforce longer windows,” Rothman urged. “Yes, even if that means you cannot play every film.”
The tension over these windows has defined the post-pandemic era of cinema. While some studios have pivoted to “day-and-date” releases or shortened windows to appease streaming subscribers, Rothman argues that the prestige and financial upside of a prolonged theatrical run are essential for the health of the medium.
The Battle Between IP and Originality
Beyond the logistics of scheduling and advertising, the longest-serving studio chief in Hollywood is sounding an alarm about the creative direction of the industry. While “Intellectual Property” (IP)—sequels, reboots, and established franchises—continues to dominate the box office, Rothman believes a total reliance on existing brands is a recipe for long-term failure.
In a recent op-ed for the New York Times, Rothman argued that originality is not just an artistic preference, but a business necessity. He posited that the industry cannot survive on sequels alone, noting that “you can’t make a sequel to nothing.”
The current landscape shows a stark divide:
- Franchise Dominance: High-budget sequels provide reliable returns and lower financial risk for studios.
- Original Content: New stories provide the “seed” for future franchises and keep the art form from stagnating.
- Consumer Fatigue: A growing segment of the audience expresses “superhero fatigue” or boredom with repetitive narratives.
Looking Toward a 2026 Recovery
Despite the current challenges—including attendance figures that still trail pre-pandemic levels—Rothman remains optimistic about the trajectory of the box office. He predicted a significant rebound for 2026, pointing to a slate of high-profile releases that combine both massive IP and ambitious storytelling.
Among the films expected to drive this recovery are the Sony Pictures-backed “Project Hail Mary,” based on the novel by Andy Weir, and a new installment in the Super Mario movie franchise. Both films are positioned as “event cinema” that justifies the trip to the theater, provided the experience isn’t marred by an overly long pre-show.
The success of these upcoming titles will likely serve as a litmus test for Rothman’s theories. If audiences return in droves for a mix of original sci-fi and polished sequels, it may provide the leverage needed to convince theater owners to finally “get off the ad crack.”
The industry now awaits the 2025-2026 release calendar to see if these changes in exhibition strategy will materialize and if the reduction of pre-show clutter will actually lead to higher audience satisfaction and increased trailer efficacy.
Do you find the 30-minute pre-show frustrating, or do you enjoy the trailers? Share your thoughts in the comments below.
