Despite broad concerns about consolidation, Hiler believes viewers could see some short-term benefits such as simpler bundles, larger libraries located in one spot and fewer platforms to juggle.
But the long-term economics worry him.
According to Hiler, Netflix has saturated the market and with little room for subscriber growth, price increases become a reliable revenue strategy, especially in a world where Netflix may be the last subscription many households refuse to cancel.
“Piracy is becoming a larger issue again too,” Hiler says. “You’re asking too much of people. Streaming used to be cheaper than cable, now it’s not so much anymore if you have multiple streaming channels.”
A consolidated streaming landscape may be simpler, but it likely won’t be cheaper. However, Hiler argues that in the end, consumers may be able to see a break on their wallets if they can get rid of multiple streaming services and keep only a few that have that larger library.
“The cost of Netflix may rise if they acquire these new properties but that could mean consumers getting rid of several other streaming services, ultimately saving them money but having them cancel or get rid of other streaming services,” he adds.
Hiler also sees big implications for the theatrical industry, not only because of this potential acquisition but overall from the rising cost of going to the movies.
“Even before the potential merger, movie theaters faced rising costs, shrinking attendance and a public increasingly satisfied with at-home viewing,” he explains. “For a family of four, going to the movies can easily hit $100 just for tickets, let alone adding the popcorn and drinks. In today’s economy, that’s unacceptable when the at-home experience is nearly comparable and the cost would be much cheaper.”
Even now, big-budget films with wide theatrical ambitions are arriving on Netflix just weeks after debuting on the big screen. Guillermo del Toro’s “Frankenstein” opened in select theaters on Oct. 17, 2025, before receiving a global Netflix release on Nov. 7. According to Los Angeles Magazine, Oscar eligibility requires a film to have at least a one-week theatrical run in one of six qualifying cities. This raises the question of whether some theatrical releases are being pursued primarily to meet awards requirements rather than to sustain a traditional cinemas. Regardless, audiences only had to wait a week after its theatrical release to view it in the comfort of their home, through the streaming service they’re already paying for.
Hiler also notes that, beyond issues surrounding movie pricing, high-quality televisions are more affordable than ever. Combined with declining theater etiquette, the inconvenience of missing parts of a film for bathroom breaks and the overall challenge of getting to theaters, many viewers now find the at-home experience easier, cheaper and more enjoyable.
“Theaters could survive, but not as the default way America watches movies,” he says. “They’ll need to lean into special experiences, like sing-along screenings or cult-classic events. ‘KPop Demon Hunters’ was released on Netflix first and later received a sing-along theatrical screening, demonstrating demand while creating a unique, communal experience.”
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