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Within its opening weekend on Netflix, Peaky Blinders: The Immortal Man attracted over 25 million streams, outpacing all other titles that week despite already enjoying a UK cinema run and a high‑profile red‑carpet premiere at Birmingham’s Symphony Hall.Banijay Entertainment, a co‑producer of the film, capitalised on the buzz by launching an official Peaky Blinders merchandise store, underscoring how streaming services are now flipping the classic content pipeline—moving from streaming to the big screen rather than the reverse.Beyond promotional stunts, these theatrical forays are becoming a strategic revenue stream and franchise‑building tool. Shows such as Stranger Things, KPop Demon Hunters and The Mandalorian are being repackaged for cinemas, offering fans a premium, event‑style experience that streaming alone cannot replicate."Cinema still creates anticipation, hype and a sense of scarcity that streaming platforms struggle to match," explains Ben Woods, analyst at MIDiA Research. Historically, Netflix limited theatrical releases to qualify films like The Irishman for awards, but the current focus is on monetising proven intellectual property across both mediums.The success of Peaky Blinders—a series with a built‑in audience—demonstrates the model’s viability. Lead actor Cillian Murphy, who also produced the film, described the release as "one for the fans," signalling the intent to reward loyal viewers.Netflix’s own experiment with KPop Demon Hunters proved lucrative: limited theatrical screenings across two weekends generated more than $24 million (£18 million) at the box office and helped the animated musical secure two Academy Awards for Best Animated Feature and Best Original Song.Co‑CEO Ted Sarandos highlighted that the film’s triumph stemmed from its initial Netflix debut, which fed the theatrical audience via the platform’s recommendation engine. While a sequel is slated to follow the same streaming‑first rollout, the Peaky Blinders movie’s cinema‑first launch shows that release strategies remain flexible.Industry observers note that gaps in the traditional release calendar give streaming services opportunities to fill weekends with original content, a tactic Netflix is actively exploiting.Major studios are also blurring the line between streaming and cinema. Disney, for example, transformed its hit Disney+ series The Mandalorian into a feature film, reflecting a broader push to bring Star Wars stories back to theatres.Adapting episodic narratives for the big screen presents creative challenges. As Ben Woods asks, should a film cater primarily to dedicated fans familiar with the series, or aim for a stand‑alone appeal that attracts a wider audience?Fan reaction to The Immortal Man has been mixed on the Peaky Blinders subreddit, with some critics questioning the decision to condense a season‑long arc into a single film. Nonetheless, the movie enjoys a strong critical consensus, holding roughly a 90 % fresh rating on Rotten Tomatoes.Looking ahead, Netflix announced on 20 March that two new post‑war seasons of Peaky Blinders are in development, raising the question of how soon the next installment might receive a cinematic spin‑off.

Russia has officially designated Pavel Talankin, the main protagonist of the Oscar-winning documentary 'Mr Nobody Against Putin', as a 'foreign agent'. This move comes after Talankin, a teacher and videographer, spent two years documenting pro-war propaganda at a school in the Chelyabinsk region of west-central Russia.Talankin, in collaboration with US director David Borenstein, won the Best Documentary award at the Academy Awards earlier this month. The documentary features footage Talankin smuggled out of Russia in 2024, showcasing how students were exposed to pro-war messaging.A Russian court recently banned the documentary from several streaming platforms, citing that it promoted 'negative attitudes' about the Russian government and the war in Ukraine. Since Russia's full-scale military invasion of Ukraine in February 2022, Russian authorities have sought to suppress opposition to the war and rally support among citizens.As a 'foreign agent', Talankin is subject to stringent bureaucratic requirements and income restrictions in Russia. He is also obligated to label his social media posts and publications with the 'foreign agent' designation.In his Oscar acceptance speech on March 15, 2026, Talankin urged an end to global conflicts, stating, 'Stop all of these wars now'. The documentary has sparked controversy, with some Russians opposing Putin and the war criticizing Talankin for filming colleagues and children without consent.