Netflix's Shakeup: Stuber's Hire, Moseley's Exit

In what has become a not-so-surprising twist in the streaming saga, Netflix seems to have hit the “streamline” button on its EMEA theatrical distribution operations—whatever that truly means in 2024. The news flash came when Hamish Moseley, the local executive who had been orchestrating the distribution dance since early 2022, decided to make his exit stage left. Netflix isn't exactly eager to comment on whether they'll be filling that particular role again or if it's simply a case of passing the baton over to the U.S. team—because, you know, who needs local expertise when there's a perfectly good time zone difference to navigate?

For those keeping score, Moseley's hefty title as EMEA Director of Distribution placed him at the helm of launching about 30 features and documentaries across Europe. While he was there, we saw high-profile titles like The Power of the Dog and All Quiet On The Western Front strut their stuff on the big screen, and who could forget the all-too-necessary, Disney-esque remake of Pinocchio? Amidst a bevy of Netflix releases, only a handful—approximately 90, give or take a few—have made their way into EMEA cinemas this year. Titles like The Kitchen, Spaceman, and the dreamy awards contender His Three Daughters are barely managing to escape the confines of your living room.

Now, it's essential to note that Moseley’s departure is perhaps less shocking when we consider that it came just six months after another star executive, Stuber, found himself on the outside looking in. Word has it that Stuber's theatrical-friendly, star-powered, and big-budget aspirations clashed head-on with Netflix's lean toward streaming-centric strategies—like welcoming more viewers into their cozy couch-based ecosystem rather than venturing out to the glitzy multiplexes. What a world we live in where cinema is an experience relegated to one's sofa!

And while one can’t help but wonder how Netflix will continue its longstanding relationships with UK and European distributors like Altitude and Tri Pictures, the clear path ahead seems to resemble a winding labyrinth more than a road map. Ever the optimists, we shall see if Netflix manages to conjure some theatrical magic amidst their streaming-centric visions.

As for Hamish Moseley, we can only hope his next venture involves fewer press releases and more popcorn. In the end, it's all about finding the right audience, whether that's sitting in a velvet chair at a cineplex or lounging in one's pajamas—after all, who says the couch can't be the new red carpet?