Warner Bros. Founder’s Grandson Criticizes Netflix Acquisition

Filmmaker Gregory Orr, step-grandson of Warner Bros. co-founder Jack Warner, has voiced strong reservations about the studio’s potential sale to Netflix, arguing it risks erasing a century-old legacy of bold storytelling. Orr, whose grandfather helped build the studio behind classics like ‘Casablanca,’ calls for more time to nurture recent box office wins rather than rushing into a takeover. His critique arrives as Warner Bros. Discovery fields bids, with Netflix’s $72 billion offer emerging as the frontrunner amid industry consolidation.

Orr’s statement underscores tensions between financial imperatives and cultural stewardship, emphasizing Warner Bros.’ role in producing films that challenged norms during pivotal eras. He highlights the 1948 antitrust decrees that forced the studio to divest theater chains, a move that reshaped Hollywood distribution. Orr contrasts this history with modern pressures, noting past acquisition attempts like David Ellison’s interest in Paramount and his own grandfather’s thwarted bid for KLAC-TV to expand educational outreach.

The proposed deal would transfer Warner Bros.’ vast library, including MGM titles like ‘The Wizard of Oz’ and RKO’s ‘Citizen Kane,’ into Netflix’s control, alongside its theatrical arm and creative teams. Orr warns this could dilute the studio’s “distinctive voice,” reducing films to mere “content” optimized for algorithms rather than shared theatrical experiences. He advocates separating Warner from Discovery, allowing the film division to operate independently and build value through hits like recent releases that recouped investments swiftly.

In his remarks to The Hollywood Reporter, Orr stated, “The potential sale of WBD does not sit well with me,” adding that Warner Bros. deserves autonomy “with its own voice and decision making.” He urged the board and shareholders to “give the company more time to continue its recent box office successes, and to build up its value to fend off any takeover bids, hostile or otherwise.” Orr framed ownership as “a decision for the heart as well as the portfolio,” citing the studio’s track record of 1,200 films since 1923 that “spoke to our times, often challenging the status quo.”

Netflix’s bid outpaced offers from Paramount Global and Comcast, promising $1.5 billion in annual synergies from shared Burbank facilities and marketing. The streaming service, with 300 million subscribers, seeks Warner’s IP to counter cord-cutting and labor issues, integrating HBO Max’s originals like ‘The Last of Us’ into its platform. Regulatory reviews by the FTC and DOJ could extend closure to 18 months, with a $5.8 billion breakup fee if blocked.

Orr questions the endgame for Hollywood icons in an era of billionaire influence, asking, “In a time when the White House is not safe from the moneyed wrecking ball, what chance does a movie studio have?” He acknowledges Warner’s growth through acquisitions but insists its 100-year arc transcends balance sheets, rooted in “the stuff that dreams are made of.” His plea echoes union fears of job losses, with IATSE estimating 10,000 positions at risk from overlaps in production and post-production.

The transaction positions Netflix as Hollywood’s dominant force, controlling 40 percent of premium streaming hours via Warner’s catalog. Orr hopes Netflix would steward theatrical traditions, preserving communal viewing’s mental health benefits over isolated home screens. Warner Bros. Discovery shares rose 15 percent post-announcement, valuing the entity at $64.6 billion, yet Orr prioritizes legacy over liquidity.

As integration looms, Zaslav’s memo to 50,000 employees stresses focus on 2026 deliverables, including ‘Superman’ and ‘Sinners.’ Orr’s dissent highlights fractures in a sector where 2025 saw 550 wide releases, up 15 percent from prior years. With AFI recently honoring Warner projects, the sale tests whether streaming can sustain cinema’s provocative edge.