Sony Pictures Boss Tom Rothman Urges Theaters to Cut Long Pre-Movie Ads

If you’ve spent a Friday night at a cinema in Chicago, you recognize the drill. You settle into your seat at a theater near the Magnificent Mile or a neighborhood spot in Logan Square, only to realize that the “start time” on your ticket is essentially a suggestion. By the time the actual movie begins, you’ve endured nearly half an hour of trailers and commercials. It’s a frustrating ritual that has become the industry standard, but according to Tom Rothman, the Chairman and CEO of Sony Pictures Entertainment’s Motion Picture Group, this “ad crack” is actively killing the cinematic experience.

The War on the Thirty-Minute Pre-Show

Speaking at CinemaCon in Las Vegas, Rothman delivered a blunt message to theater owners: the endless advertising must stop. His argument is rooted in a shift in consumer behavior. Frequent moviegoers, tired of the 30-minute slog of commercials, have begun arriving a half hour late to their screenings. Although reserved seating has made this easier, it creates a paradox for the studios. When audiences skip the pre-show, the highly trailers meant to entice them into seeing future films are “gone to waste.”

This isn’t just about convenience; it’s about the economic viability of the theatrical window. Rothman has been a vocal defender of the considerable screen, urging exhibitors to enforce longer windows—meaning movies stay in theaters longer before moving to streaming or on-demand platforms. For a city like Chicago, where the appetite for large-scale entertainment is massive, the tension between immediate digital accessibility and the traditional theatrical experience is palpable. If the “barrier to entry” (the tedious pre-show) remains too high, the incentive to visit a physical theater diminishes.

The Sony Strategy and the 2026 Outlook

Rothman’s leadership at Sony Pictures has been defined by a return to profitability and the revitalization of massive franchises. Under his guidance, Sony has seen success with the Spider-Man, Venom and Uncharted series, as well as new installments of Ghostbusters and Bad Boys. The studio’s fiscal year 2020 was one of its best in over a decade, driven by tentpoles like Spider-Man: Far From Home and Jumanji: The Next Level.

Looking ahead, Rothman is optimistic about the 2026 box office. He pointed to hits like Super Mario Galaxy Movie and Project Hail Mary as evidence of a rebound. However, he acknowledges a sobering reality: attendance still trails pre-pandemic levels. To fix this, he believes theaters must prioritize the movie over the advertising revenue. By shortening pre-shows and resisting the urge to move films to streaming too quickly, the industry can reclaim the “event” feel of going to the movies.

Analyzing the Ripple Effect on Urban Entertainment

The push to “get off the ad crack” reflects a broader struggle within the entertainment industry. For years, theaters have relied on the high margins of concessions and pre-show advertising to offset the costs of operation. When a CEO of a major studio like Sony Pictures—which oversees Columbia Pictures, TriStar Pictures, and Screen Gems—calls for a reduction in these ads, it suggests that the loss of audience engagement is now more costly than the ad revenue itself.

In a metropolitan hub, this shift could lead to a change in how local cinema chains manage their scheduling. If theater owners follow Rothman’s lead, we may notice a return to more precise start times. This would fundamentally change the “night out” dynamic for residents, potentially increasing the frequency of theater visits if the time commitment becomes more predictable. The emphasis on theatrical exclusivity ensures that the local economy surrounding these theaters—restaurants and parking garages—benefits from a steadier flow of patrons who aren’t deterred by a bloated pre-show.

The Role of the Studio Executive

Rothman’s trajectory provides a blueprint for this aggressive approach. With a background that includes serving as CEO of Fox Filmed Entertainment and founding Fox Searchlight Pictures, he understands both the prestige of indie cinema and the machinery of the blockbuster. Since joining Sony in 2013 as Chairman of TriStar Pictures and eventually ascending to CEO of the Motion Picture Group in 2021, he has brought in top-tier talent like Greta Gerwig and Quentin Tarantino. His focus is now on ensuring the delivery system—the theater—is as polished as the product itself.

Navigating the Shift: Local Resource Guide

Given my background as an Executive Geo-Journalist and Pundit, I’ve seen how industry-wide shifts in entertainment and commercial real estate impact local business owners and consumers in Chicago. If the shift toward shorter theatrical windows and modified advertising affects your local business or your professional interests in the entertainment sector, you need a specific set of experts to navigate these changes.

Depending on whether you are a venue owner, a marketing professional, or a legal consultant, here are the three categories of local professionals Consider consider:

Commercial Lease Negotiators

As theaters change their business models to prioritize “longer windows” and potentially different revenue streams, the value of their real estate changes. Look for negotiators who specialize in “entertainment zoning” and have a proven track record with large-scale commercial footprints in the Loop or River North. They should be able to analyze how changes in foot traffic affect lease valuations.

Experiential Marketing Consultants

If theaters move away from “ad crack” pre-shows, brands will seek new ways to reach audiences. You need consultants who specialize in “out-of-home” (OOH) advertising and experiential activations. The key criteria here is a portfolio that demonstrates a transition from passive advertising (like commercials) to active, immersive brand experiences that don’t annoy the consumer.

Intellectual Property and Licensing Attorneys

The battle over “windows” (the time between theater release and streaming) is fundamentally a legal and contractual struggle. When seeking local counsel, look for attorneys who specifically handle “distribution agreements” and “licensing windows.” They must have experience navigating the contracts between major studios and exhibitors to ensure local venues are compliant with new industry standards.

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