How Amazon Studios sold a fictional story involving some of the 20th century’s most important individuals.
The new movie One Night In Miami, the directorial debut for Regina King, is one of my favorite kinds of stories, the hypothetical confluence of several historical individuals. In this case the movie focuses on the fictional meeting of Muhammad Ali (Eli Goree), Malcolm X (Kingsley Ben-Adir), Jim Brown (Aldis Hodge) and Sam Cooke (Leslie Odom Jr.) at a Miami hotel room in early 1964. The four men, some with their wives, take the opportunity of their meeting to discuss their various roles in the civil rights movement as well as the rest of what’s happening in the early 60s.
With an all-star cast and a well-regarded actor making her first foray behind the camera, the movie has a lot going for it in this unusual awards season. As such, Amazon Studios has mounted a campaign pulling heavily from history, even if the events of the film itself are largely fictitious.
Released in mid-November, the first poster (by marketing agency The Refinery) presents a very simple message to the audience by showcasing the four leads, all standing in front of the Miami hotel where most of the action takes place. It’s a very good, simple poster that highlights the movie’s main selling point, which is the cast and the characters they play.
Character posters showcasing the four leads came out in early January.
The first trailer (9.7 million views on YouTube) came out in mid-November and opens by immediately establishing the premise, that the film follows what happens when four icons of the civil rights movement and the 20th century as a whole come together one night following a fight between Ali and Sonny Liston. There’s lots of scenes of the four of them engaged in deep discussions, thoughtful prayer, righteous outrage and more, basically presenting the film as a showcase for the performances from the four leads.
A second trailer (131k views on YouTube) came out earlier in January and takes a bit more in-depth approach, offering the same value proposition to the audience but showing more details about the conversations that happen between the four men and what sort of dynamic is in play. It also notably differs in that it uses Odom Jr. ‘s performance of a couple of Cooke’s songs as the background music instead of something more contemporary.
Online and Social
There were standalone social profiles for the film that ran through part of last year, but which were eventually shuttered in advance of the new year. Amazon Studios did support it substantially on its brand social accounts, though.
Advertising and Promotions
Amazon Studios acquired the film in July, 2020. Shortly thereafter it was announced in the lineup for the upcoming Toronto International Film Festival. Its debut was scheduled for the Venice Film Festival in mid-September. That screening generated such positive word of mouth it seemed to jump right into Oscar contention, specifically for King.
It was then announced as the closing night feature for the Hamptons Film Festival and added to October’s London Film Festival. In September it was announced it would close the Montclair Film Festival while news later added it to AFI Fest. Reichart and costume designer Francine Jamison-Tanchuk were awarded the Golden Key Award at the Key West Film Festival.
A clip released in September, about the same time as the festival screenings, shows many of the main characters coming together for a big night out.
Eventually a release plan was announced, with the plan being for the movie to open in limited theaters on Christmas Day before being available via Amazon Prime streaming three weeks later.
EW debuted footage of Odom Jr. performing Sam Cooke’s “Speak Now” and another clip shows the main characters heading out for the night as Malcolm X reflects on the danger he’s in from many hostile parties.
Online ads used the key art to link to Amazon Video’s play page for the movie. The studio also sponsored a playlist of R&B tunes on Spotify.
Media and Press
Some of the first publicity for the movie came in an extended profile of King where she talked about making her directorial debut and lots more. Later on she offered a first look at the film along with comments about her experience making it and more.
During the Venice festival King was interviewed about the relevancy of the story, dealing with such iconic historic figures and more. She also talked about how she sees the film’s fate greatly impacting what kind of opportunities black women are given as filmmakers in the future. In another interview she discussed how she and the cast kept going during the Covid-19 pandemic, driven largely by the desire to get this story out there immediately.
The topic of so many well known real life individuals came up in another interview with King, a later interview with Ben-Adir and another one with Odom Jr. and Hodge.
She joined many members of the cast for a conversation about the timeliness of the story and got a feature profile of her own later in the year.
Screenwriter Kemp Powers got a substantial profile that focused on his part in making this film as well as Soul, also coming out in the same time period. He talked more about adapting the play for the screen here and later received another feature profile about his career to date.
King also offered more thoughts on why she was a good fit for this project and once again about what it was like to direct for the first time.
An interview with Ben-Adir had him talking about the research he did to play Malcolm X and how King was instrumental to that process. He went even more in-depth on that process in another feature profile.
Of course King not only commented on this movie but also on the race-related happenings in the current world when she appeared on “Kimmel.” She also had to weigh in on criticisms of Ben-Adir, a British actor, playing a well-known American figure like X.
It’s quite a good campaign, one that’s rooted in the performances of Odom Jrl, Goree, Ben-Adir and Jim Brown. All four of them are the real selling point to the public here, with those who are a bit more in-the-weeds also getting plenty of reminders of King’s involvement. Also good to see is the attention given to Kemp, who is having a moment with a number of projects hitting right about now.
This is, I think, the perfect example of the kind of movie that benefits from a streaming debut in that the opportunity cost of trying it out is so much lower than it would be in theaters. And the campaign has made the point repeatedly, to great effect.
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In Pieces of a Woman, written by Kata Wéber and directed by Kornél Mundruczó, Vanessa Kirby and Shia LaBeouf play Martha and Sean, a young married couple who experience a terrible tragedy during the birth of their first child. The story follows the two – especially Martha – over the course of the ensuing year as she works through the grief of the event as well as the other related emotions that come with it. The movie also stars Ellen Burstyn as Martha’s mother, whose overbearing nature complicates the situation.
Netflix has been selling the film as a prestige piece, especially focusing on Kirby’s performance in part because LaBeouf has once again become a toxic persona. Generally positive reviews have given the film a 78% Fresh rating on Rotten Tomatoes, so let’s take a look at the campaign as a whole.
Kirby’s Martha fronts the movie’s one poster (by marketing agency P+A), released in mid-November. The photo is of her looking longingly at something off-camera, but it’s enough to convey the general idea that the movie will be an emotional one with Martha as the main character. tw
The first and only trailer (1.7 million views on YouTube) came out in mid-November and starts with Martha and Sean preparing for the arrival of their much-anticipated child, which we quickly see dies during birth. That understandably rocks Martha, who is exploring who she can legally blame for her loss, ultimately going to court to testify against the midwife she holds responsible. Alongside all of that, she clashes with her mother, husband and others as she seeks to direct her grief in some useful direction.
Online and Social
Not only wasn’t there a standalone site for the film, which isn’t unusual for Netflix releases, but it seems there also weren’t social profiles set up either. It did get some support on Netflix’s brand channels, though.
Advertising and Promotions
The movie’s debut at the Venice Film Festival garnered positive reviews, especially for the performances by Kirby and LaBeouf. Kirby’s was so good she won the festival’s Best Actress Volpi Cup.
A short clip debuted while Venice was underway. Those positive reviews were likely instrumental in Netflix deciding to acquire the film, which it did shortly after the Venice premiere.
It was also screened at the Toronto Film Festival as well as for the American Film Institute and at EnergaCamerimage Film Festival.
Media and Press
A profile of Kirby from early September included this as one of a couple highly-anticipated projects she was involved in.
Weber and Mundruczo were interviewed during Venice about how they expanded on earlier material for this film and how they secured the cast they did. In another interview during teh festival they talked about tackling taboo subjects and more.
Kirby and Burstyn were interviewed together about making the movie and what drew them to the project. Elsewhere Mundruczo talked about the story and what made it so powerful while also praising his cast.
Closer to release there was another feature profile of Kirby that had her talking about taking on her first major role specifically because it seemed scary and imposing. She also promoted the film in an appearance on “The Tonight Show.”
Mundruczó and Wéber were interviewed about developing such a raw and personal story, and then doing so again for a feature version. There was also an interview with Burstyn, whose performance has created a good percentage of the film’s buzz and been called out in many reviews.
If you’re wondering where LaBeouf was during the press campaign, he either declined to participate or was told not to following recent allegations of abusive, harassing behavior by various women as well as new reports of erratic and problematic behavior on-set.
Making Kirby the focal point of the campaign was absolutely the right call here, not only because she bears the brunt of the story’s emotional baggage but because her performance anchors the film and is where the audience is intended to throw their attention.
It’s a slow and deliberate campaign, especially exemplified by the trailer, and that gives it an appropriate sense of drama and stakes. Not only that, it’s one of the best from Netflix, particularly in how the company has finally fully embraced giving its movie stars the chance to fully engage the press.
Even a dumpster fire can yield some interesting results.
If compiled, the articles, think-pieces and hot takes written between March and December of 2020 on the present and future of movies and theater-going would fill volumes rivaling the collected works of Marcel Proust, though they would be far easier to summarize.
A year unlike any other certainly proved even more disruptive to aspects of the film industry – production, distribution and exhibition alike – than anything like MoviePass or other threats once held to be dire could have dreamed. No one could have engineered a scenario where over 90 percent of the nation’s movie theaters would close for months at a time, studios would shut down filming on major motion pictures and so on ad infinitum because of a virus outbreak around the globe.
All of that, as well as the pivot by studios and media owners to streaming, upended, delayed or otherwise altered a great many movie marketing efforts. That doesn’t mean 2020 didn’t have plenty of interesting campaigns, though. It just means in some cases what made them “interesting” or otherwise notable was a little different than what would have qualified in prior years.
More than anything else, 2020 was a year of unexpected firsts. WarnerMedia finally launched HBO Max and offered a number of original films before announcing it would be home to its entire 2021 theatrical release slate. Disney rushed Onward over to Disney+ before later using it for titles like Hamilton and Soul that otherwise would have gone to theaters and for Mulan as a test for a new pricing model. Paramount sold off many of its titles to Netflix or Amazon. Apple released a handful of original features while trying to provide Apple TV+ with some momentum. Universal essentially reinvented and reinvigorated PVOD.
So, with all that said, these are some of the most intriguing movie marketing campaigns of a year for which “intriguing” is such an understatement as to almost be irresponsible.
Why It Made The Cut: Many campaigns for period films include some element or another meant to evoke the era the story takes place in. No movie takes that as far as Netflix’s Mank, where the whole campaign was designed to seem as if the film were being released in the late 1930s/early 1940s, just like Citizen Kane. Trailers were cut and narrated in the style of that period, posters were designed to look similar to the kinds of one-sheets seen then and more. It shows something unique can be created if the marketing team goes all-in on a concept.
Why It Made The Cut: The campaigns for many movies that had their release plans changed dramatically saw subsequent alterations made to their marketing campaigns. Few were as innovative as Disney’s shift of Mulan. Not only was the film sent directly to Disney+ (as well as limited theaters), but the introduction of a “Premier Access” PVOD tier to that streaming platform set this one apart from the others. By all accounts this experiment was a success, one that may be replicated with other titles in the future. It also essentially set the stage for what Warner Bros. would wind up doing with HBO Max beginning with Wonder Woman 1984, though Disney remains committed to sending its Marvel Studios titles exclusively to theaters.
Why It Made The Cut: Few films felt as timely as The Assistant, which came out at the same time Hollywood was dealing with not only the continued fallout of Harvey Weinstein’s fall from grace due to sexual harassment and assault but also the burgeoning protests by assistants in the industry over lack of adequate pays and other mistreatment. While other campaigns made big, flashy statements to audiences, this one played it so quiet and understated it sometimes fell off the radar, but kept coming back to show how powerful the story and performances were.
Why It Made The Cut: Before May of last year, Warner Bros. and DC Films seemed to be actively apologizing for the dark, dystopian tone (not to mention storytelling shortcomings) of earlier films from Zack Snyder and David Ayer. The campaign for Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) was part of that, presenting a new take on the best character to come out of Suicide Squad that freed Harley Quinn from the male gaze and other traps. In contrast to some of those earlier movies, this campaign was funny, bright and full of women taking their power back. It was also one of the last major fully-theatrical campaigns of the year before things got weird.
Why It Made The Cut: Universal’s unsuccessful effort to launch its Dark Universe film franchise on the back of 2017’s The Mummy is legendary as a case study in corporate hubris. That made the campaign for The Invisible Man so notable as it not only looked like a powerful and compelling story in its own right but also was the first example of the studio’s new approach of making smaller movies driven by creative filmmakers, not the dictates of a shared cinematic universe.
Why It Made The Cut: These two kid-targeted movies were some of the earliest efforts by their respective studios into the burgeoning world of premium video-on-demand, an avenue theater owners had kept off-limits for a decade. Most notably, each represented early adoption of the studio-hosted watch party, encouraging fans to engage in a communal but remote viewing experience anchored by Twitter chats. While Trolls World Tour was a first-mover, Scoob! in particular went all-out for its watch party with downloadable party packs, recipes and other items for those at home to use as part of the event.
Why It Made The Cut: The New Mutants is included here simply because it actually came out after years of delays, rumors of extensive reshoots and other issues. Not only was it finally released – after a campaign that shifted over time from a horror-centric push to one that was more of a conventional super hero message – but it came out theatrically instead of, as many expected, via streaming.
Why It Made The Cut: With so many movies coming out on PVOD or streaming, Tenet’s theatrical release is a bright shining example of a powerful stakeholder intentionally not reading the room. The film’s massively disappointing box-office performance shows there was no audience in September willing to brave theater-going in sufficient numbers, a lesson so well-learned by Warner Bros. it’s cited as being a major reason for the studio’s decision to send #WW84 and eventually all its 2021 releases to HBO Max. It would rather anger directors, agents, production partners and others than go through that again, and with good reason.
Why It Made The Cut: Few films of late have tried so hard – and to a great extent so successfully – to redefine an entire genre as The Happiest Season. Its holiday-centric campaign was perfectly in keeping with the movie’s story, and the emphasis on providing a new take on the Christmas movie category was felt throughout the marketing by Hulu.
There’s been a lot of good storytelling in the Marvel Cinematic Universe over the last 12 years. Black Panther, Captain America: The First Avenger, Thor: Ragnarok and others particular stand out from among the 20 movies as particularly enjoyable and well-told stories offering something new and creative in the superhero genre.
There’s also a problem with many of them that I never quite noticed until recently rewatching Captain America: The Winter Soldier.
Now Winter Soldier is a movie I’ve watched and greatly enjoyed a few times before. It’s usually ranked among my favorites of the MCU for how it uses Marvel characters to tell an updated version of a late-70s paranoid political thriller. Chris Evans fully comes into the role of Cap in the film, Scarlett Johansson gives my favorite of her performances as Black Widow and you can never go wrong with Robert Redford gliding through every scene.
This last time through it, something stuck out at me, though. It’s a moment right at the end of the film, with Natasha Romanov testifying before Congress about how Hydra was able to infiltrate SHIELD for decades, coming within seconds of killing millions of citizens because it deemed them a potential future threat. Why, one individual asks, shouldn’t she and others who aided – albeit unwittingly – this massive conspiracy be put behind bars?
In response she says they won’t put her in jail because, despite the role they played previously, they’re the ones best qualified to fix the very problems they contributed to.
You’ll recognize this logic from every appointment of an oil industry executive to the EPA because “they have experience with this subject matter.” Or the committees making recommendations on reform in the financial sector that are staffed solely be executives from the biggest firms in that industry.
It’s not an uncommon sentiment in the MCU, either. In the first two Iron Man movies, Tony Stark’s entire philosophy is that despite the fact that his irresponsible business practices having put terrible weapons in the hands of terrible people, he should be trusted to clean up that mess. Not only that, but he embodies the conservative notion that the duties traditionally entrusted to government should instead be handed over to the wealthy elite. He resists any government oversight or accountability of Iron Man, asking instead he simply be trusted.
At the end of The Avengers, Nick Fury is asked if he knows where the various heroes are and how he’s planning on reassembling them if the world faces another day like no other. Not really, he says, simply hoping and believing they’ll be there when needed. That sentiment is picked up by Secretary Ross in Civil War, when he asks if anyone knows where Thor or Hulk are, rightfully pointing out he’d be in a heap of trouble if he lost a couple nuclear weapons.
While there are plenty of issues that can be taken with the story in Civil War, Ross’s point is not necessarily one of them. But in this case, Tony Stark’s conversion from “I privatized world peace” to “We need to be put in check” comes off less as realizing he and those like him are part of the problem than from, it seems, him wanting to pass the buck of accountability on to someone else.
That mindset is understandable from characters like Rhodes and Romanoff, who have both operated extensively within military structures and who feel comfortable there. Stark, though, has seen his high-flying adventuring go badly and would like to have someone else deal with it, thank you very much.
(Side note: Captain America might be expected to take a similar approach as Rhodes given his military background. His intransigence on the issue always seemed somewhat arbitrary, especially since it’s justified solely by saying they can be trusted to make the best decisions on their own. More than any other MCU character, Cap has had his belief in “the system” shaken, first finding out SHIELD was using Hydra weapons in The Avengers and then finding out SHIELD *is* Hydra in The Winter Soldier. If Civil War had grounded his stance in this experience it would be a lot more defensible.)
It’s equally understandable why Barton, Wilson and others would disagree, given they don’t come from such privileged backgrounds even if many of them were also military in some fashion. The opposing side is made up of those who have been in the muck a lot longer and worked to lift themselves out. Barton doesn’t have a super suit, he’s just *really* good at what he does. Wilson is like Rhodes in many ways, but doesn’t have the benefits of a long friendship with a playboy billionaire philanthropist aiding his way. Scott Lang, of course, is a criminal who operates outside the system. Wanda is an orphan who lost her brother.
When Romaoff says she and the other heroes are the ones most qualified to clean up the mess created by the fall of Hydra, she’s hinting at what’s to come in Civil War. She’s also mimicking the testimony of every executive in the wake of some crisis. Consider how little changed in the 10 year following the 2008 financial crisis, with many of those who were in charge then still in charge a decade later. This quote from a story on what some of those leaders said in a Congressional inquiry is indicative of that “those who created the problem should be trusted to clean it up” philosophy and sounds a lot like Romanoff’s rebuke:
The witnesses said they supported tighter oversight, but warned against going too far.
Right. Because you wouldn’t want to “go too far” in the wake of the complete collapse of the American housing market, one caused by banks and not homeowners. And you wouldn’t want to go too far in the wake of revelations that an international terrorist organization had compromised a global security force.
Those in power are loath to relinquish that power, especially when the opportunity comes along to be free from any negative repercussions that might happen while exercising that power. It’s unfortunate to see that kind of privilege on display in the MCU.
How Focus Features is selling a twisted revenge story.
Actress and writer Emerald Fennell makes her directorial debut with this week’s Promising Young Woman. The movie stars Carey Mulligan as Cassandra, a woman who experienced severe trauma in her past. Now she is channeling that trauma, combined with her sense of justice, in the direction of seeking to set things right. That means trouble for the men who get in her way.
Focus Features’ campaign for the film has sold a kinetic, story of revenge and dealing with the events of the past in some manner. With an impressive 92% Fresh on Rotten Tomatoes, the movie has been pegged as a potential awards contender, especially for Mulligan.
“Take her home and take your chances” the audience is warned on the first poster (by marketing agency Art Machine), released just a week ago. The image of Cassandra lounging on a sultry, dripping wet mouth combined with the style of the title treatment gives this the look of an 80s teen sex comedy, albeit one that might be a bit twisted.
The image on the second poster (by marketing agency Territory Studio) is a bit more straightforward, just Cassandra staring at the camera and holding a tire iron in a very purposeful way. Some positive review quotes are placed in the background to help make the case.
Cassandra is writing the title on a mirror in lipstick on the final poster (once again by Art Machine). That takes us back into twisted territory, while the copy here reads “Revenge never looked so promising.”
The first trailer (3.8 million views on YouTube) came out in mid-December and immediately sells a crazed story of vengeance and justice. As it opens it looks like Cassandra has had too much to drink and is passing out at a club, with a man seeing that as his opportunity to take advantage of her. She reveals herself to be just fine, though, much to his surprise. Turns out this is something she does regularly, exposing the lie of the “nice guy” who has darker motives. Her mission is driven by a past that involves leaving college after accusing a man of raping her and receiving no support from the school or other people. Seems her journey may even bring her back into contact with her assailant, giving her the opportunity to achieve some real closure and have some real fun.
Cassandra is attempting to restart her studies in the second trailer (2.9 million views on YouTube), released in mid-October. She explains that she left years ago after a girl was attacked and her assailant never punished. Turns out the administrator she’s speaking with is the same one who fielded the initial report and failed to take action. Mixed in with that is footage of the kind of vengeance she doles out herself on men who feel they’re entitled to certain things regardless of consent. It still looks crazy, but the framing of the interview grounds the story a bit more effectively.
Online and Social
Visitors to the movie’s official website will find Focus’ standard design in place, offering the trailer, bios on Mulligan, Fennelll and many of the costars and more. There are also social network profiles specifically for the film.
Advertising and Promotions
Sundance 2020 was announced as the movie’s public coming out, with Focus Features picking up distribution rights in advance of the festival.
The video for “Drinks” by Cyn was released in early March as details of the star-studded soundtrack were made public.
Dolby offered an exclusive interview with Fennelll where she talked about using the company’s technology and tools to bring her story to life.
AMC Theaters also got an exclusive behind-the-scenes featurette.
Focus Features showed a bit more in an installment of the “60-Second Film School” web series.
Media and Press
While Fennell wasn’t in Sundance with the movie, he was interviewed at that time about the inspiration behind the story, how production worked and what they hoped the audience’s reaction would be. Burnham spoke about the difficult time he had while filming and how intimidated he felt when acting alongside Mulligan.
Fennell and Cyn were interviewed about the process of assembling the movie’s soundtrack and what the songs on it were meant to represent.
An interview with Mulligan allowed her to talk about how she got involved in the project and why it seemed attractive to her at this point in her career. Brie also talked about her part in the film.
A Variety cover story featured both Fennell and Mulligan talking about why they made this movie right now, the…emotional reactions test audiences had and lots more.
How set designer Michael Perry created the visual look of the film was covered in an interview with him.
A joint interview with Fennell and Mulligan had them talking about female revenge stories and how they accomplished the movie’s unique look and feel. They also shared a story of a fistfight among audience members breaking out during a test screening.
Other interviews with Fennell had her talking about getting the rights to use a song by Paris Hilton in a key sequence and why she cast perfectly nice and sweet actors to play some of the story’s terrible male characters.
A big profile of Fennell had her reflecting on how her career to date has led her to this point and what she wanted the story to convey. A similar piece on Mulligan had her talking about the…unfortunate…reactions of some men to the movie.
What the movie’s quick production was like was covered in an interview with Mulligan. Fennell talked about how she wanted to take a comedic, though a darkly comic, look at violence in the story.
I’m on board with this campaign for a number of reasons, including the fact that it creates a strong, instantly recognizable brand identity from the outset and never lets up. It’s twisted, colorful and a little bit funny, anchored by a strong performance from Mulligan.
Not to be overlooked is Fennell’s contribution to the campaign, outside of her helming the film itself. She’s been out in front of the publicity and other aspects of the marketing, making it clear she is in charge and working to carve out some recognition for herself while also selling the movie.
How Warner Bros. has mounted an oft-delayed and ultimately unusual campaign for its first legit superhero sequel since 2012.
To call Wonder Woman 1984’s trip to an eventual release date “unconventional” would be a severe understatement. Originally scheduled for December 2019, it was later moved to June, 2020, then later and later in the year following the theatrical closures resulting from the Covid-19 pandemic. The final release date of December 25, 2020 seemed iffy as late as last month but has finally come to pass because WB – and parent company AT&T – pulled a bold move that has subsequently disrupted the entire film industry, sending the movie to both whatever theaters are open and the HBO Max streaming platform.
Just as the title implies, the movie – directed once more by Patty Jenkins – jumps several decades from the World War I setting of the 2017 installment to the 80s. Diana Prince (Gal Gadot) is now an anthropologist at the Smithsonian Institute, where she meets coworker Barbara Ann Minerva (Kristen Wiig). Barbara’s insecurities make her a ripe target for Maxwell Lord (Pedro Pascal), a megalomaniac businessman who acquires the ability to grant wishes and fulfill desires, an ability he uses to increase his own fortunes. Eventually Barbara wishes for superhuman powers and is transformed into Cheetah, setting the stage for an epic showdown with Diana. Along all that, Diana is confounded by the mysterious return of Steve Trevor (Chris Pine), who she believed dead 60 years ago and who doesn’t appear to have aged at all.
Before the HBO Max release was announced, #WW84 had taken Tenet’s position as the movie exhibitors were pinning all their hopes for a moviegoing revival on. The simultaneous distribution may have dashed those hopes (along with the fact that the pandemic is nowhere near controlled in the U.S., meaning most theaters are still closed), so the film is now seen as an example of what could becomeHollywood’s future. At the very least, it set the stage for Warner Bros. announcement its entire 2021 slate was following the same pattern.
In addition to the copious discussions and analysis of what all of the above means for theaters, HBO Max and other studios, initial reviews have praised it as a feel-good sequel to help close out an infection-filled tire fire of a year. Those reviews have been mixed enough to give it a lackluster 76% Fresh rating on Rotten Tomatoes, but the marketing of the film has struck the same colorful, powerful tone as that of the original.
The first teaser poster, Tweeted out by Jenkins in early June 2019 along with the news the movie would not have a panel at 2019’s San Diego Comic-Con, shows Diana looking imposing in golden full body armor. She’s set against a colorful backdrop that forms a slight “W” to reinforce the branding. It’s an impressive first image communicating what may be the movie’s brighter tone.
Four character posters – one for Diana, Trevor, Lord and Minerva – retained that colorful background branding while also offering one of the movie’s biggest revelations: that Trevor sports a fanny pack in the film.
In March two more posters came out showing Diana kneeling in her ceremonial armor, a colorful backgroundswirling behind her. Those posters also served as announcements of the new (at the time) June release date.
An exclusive IMAX poster, released in November, shows the armored Diana crouched and ready for battle while promoting the fact some sequences in the film were shot with IMAX cameras, the better to lure in audiences hoping for an immersive experience.
More posters came out earlier this month that took the same kind of visual approach, making sure to include the new selling point of simultaneous theatrical and HBO Max availability.
The “#WeekofWonder” campaign run the first week of December included another poster showing Wonder Woman walking purposefully and powerfully toward the camera. AT&T debuted another showing a more relaxed, though still armored, Diana.
A Dolby-exclusive poster loses some of the colorful background but continues the emphasis on Wonder Woman’s shiny armor, as does one for Cinemark and one for RealD 3D.
Diana is explaining to Barbara that her life has been different than she might imagine as the first trailer (37.3 million views on YouTube), released at the beginning of December 2019, begins. We see momentos from her past before seeing Wonder Woman break up a group of armed criminals in a shopping mall. As that’s happening, a TV commercial features Lord promising people they can achieve all their dreams and have what they want. Somehow Steve Trevor returns, having not aged a day in the 40 years since he apparently died. They set off on a mysterious adventure while we’re shown footage of them in combat mixed with scenes of the Amazons competing in some form of organized games.
All of that is bookended by title graphics and other animation seemingly pulled directly from a 1984 video cassette, including fuzzy static that mimics what would happen when a VHS tape got stretched after too many plays.
In conjunction with DC Fandome in August a new trailer (23.8 million views on YouTube) was released that starts by showing a young Diana in the midst of her training followed by a grown Wonder Woman using her magic lasso to swing between lightning bolts. That gives you an idea of how epic the story is. After that there’s more footage showing Barbara’s quest for power that turns her into Cheetah, Lord’s megalomania that has to be stopped and the mystery surrounding Trevor’s return. At the end there’s a nice flip from a scene in the first movie, with Trevor trying on clothes to fit into the current world while Diana judges his choices.
In mid-November in conjunction with the announcement of the HBO Max release plans the “Official Main Trailer” (4.3 million views on YouTube) came out that is almost exactly the same as the Fandome trailer from August.
Online and Social
Whatever website might have once existed for the movie it’s been replaced by a single page on HBO Max’s site with the trailer and information on either signing up for that service or purchasing theater tickets. It’s really disappointing, though there were still stand-alone social profiles that went more in-depth on promotions and other marketing assets.
Advertising and Promotions
With so much going on, it’s necessary to break all of this up a little bit.
Microsoft, which had a substantial campaign using the movie and character as a way to encourage kids to develop tech skills and learn to code by playing game, engaging in online scavenger hunts and more. There was also a Bing extension that added movie key art to browsers and an Edge browser theme.
Dorito’s, which put movie branding on chip bags, some of which came out earlier this year before various delays, leading to packaging hitting shelves with inaccurate dates.
Hot Topic, which offered all kinds of movie and character merchandise, some exclusive to the retailer.
Reebok, which offered a line of movie- and character-themed footwear. That campaign included an emphasis on highlighting healthcare workers as well as promoting the company’s education initiatives.
The movie also was included in a number of ads for AT&T encouraging people to sign up for the company’s fiber home internet service so they had the bandwidth to fully enjoy Wonder Woman 1984 via HBO Max.
Promotions for the movie kicked off all the way back in June, 2018 in advance of that year’s San Diego Comic-Con as Gadot and Jenkins Tweeted out a handful of first looks at Trevor, Barbara and Diana. That Trevor’s presence in the movie was revealed at the outset of the publicity cycle is notable since the question of whether or not he would show up could have been a significant part of the campaign. Instead, Jenkins – and presumably the studio – felt there was more to gain from getting it out there early and not making everyone endure months of speculation, which is appreciated.
The movie was also part of that year’s CineEurope presentation from the studio.
Jenkins, Gadot and Pine all appeared at SDCC 2018, an appearance that was followed by the launch of an Omaze campaign where people could win a role as an extra on the film.
Warner Bros. sat out Hall H at SDCC 2019 but Jenkins and Gadot did appear at Comic Con Experience in Sao Paulo in December, talking about the movie and what audiences could expect while giving attendees an early look at the first trailer.
The film was included in WB’s 2019CinemaCon presentation that included footage from the film and comments from Jenkins. It was also featured in that year’s CineEurope presentation.
Gadot appeared as a presenter during the recent Oscars broadcast.
Shortly after that news came the movie would be among those included in DC FanDome, a virtual event planned for August. That panel, which included the debut of another trailer, had Jenkins and others discussing both this and the first film and fielding some questions from fans. There was also a surprise appearance by the original on-screen Wonder Woman, Lynda Carter. More promotions for the film, including another appearance by Jenkins, were part of the second part of FanDome a month later.
The news the movie would debut in theaters and on HBO Max was accompanied by a short promo making that point to audiences. It was also prominently included in promos for WB’s later announcement of its 2021 theatrical/HBO Max plans.
Additional longer commercials showed an abridged outline of the story.
A new extended spot was unveiled at this year’s CCXP, one that focuses on the emotional journey Diana goes on over the course of the story.
Immediately leading up to release WB bought Promoted Trends on Twitter.
DC FanDome was reactivated in mid-December for the movie’s virtual premiere, including exclusive looks at the film and more. That premiere supported World Central Kitchen, which has been doing a lot of work to feed hungry people across the world – including the U.S. – during the pandemic.
DC Comics Tie-Ins
There’s been a full-throated promotional effort from DC, not only because that division is home to the Wonder Woman IP but also because the movie’s release roughly coincides with the 80th anniversary of the character’s print debut. That effort has included a number of on-domain “get to know X character” stories and videos as well as insights into the design and creation of Wonder Woman’s golden armor, an interview with Tina Guo, the guitarist behind the now-famous Wonder Woman movie theme and more.
A planned movie tie-in comic with cover art by Nicola Scott, who shared her work on Twitter in March. More details came out in July, including that the book – “Wonder Woman 1984 No. 1” – would debut exclusively in Walmart stores and feature multiple stories, including a direct prequel to the film co-written by Louise Simonson and associate producer Anna Obropta.
A handful of Zoom chat backgrounds, released earlier this year (as many companies were doing) so people could add some film branding to their video calls.
Lilly Aspel, who plays the young Diana, appeared on an episode of DC’s Kids YouTube show to talk about the movie and play games.
#WonderWomanDay was celebrated in October with all sorts of merchandise sales, events at comics retailers and more.
With all the delays and date changes, publicity didn’t truly kick off – outside of a few interviews and comments, including those from Pine and Jenkins from the “I Am The Night” set – until February of this year.
That’s when more photos were released to EW, which also hosted a roundtable conversation with Jenkins and the cast as well as an interview with Gadot about the continuation of Diana’s story as well as that spiffy new armor.
Another interview with Gadot had her talking about this movie as well as her career, public image and more.
New images and comments from Gadot and others emerged in April, as Warner Bros. execs reiterated their commitment to the theatrical model for this movie. At about the same time, Jenkins hinted at the four-film arc she has in mind for the character if she gets the chance and more. She discussed more details and ideas in another interview later on.
As the reality of the pandemic became more clear in May, Gadot surprised a group of Wonder Woman-inspired healthcare workers in Detroit with an appearance to lift them up during difficult times.
Wiig was interviewed about what a career change it was to take a role in a big-budget production like this and how that went.
DC interviewed Magnus Lygdback, Gadot’s trainer on the film, about how he helped her get ready for production, while Jenkins offered more information on how she intended to bring back Trevor.
Pascal was the subject of a feature profile that included comments from Jenkins about working with him and more.
In an interview earlier this month Jenkins said she was essentially ignoring the theatrical cut of Justice League, directed by Joss Whedon, because she felt it contradicted what she had done and had planned, unlike the way she had worked with original JL director Zack Snyder
Gadot spoke in a later interview about returning to the role and what she hoped that meant for the character, feminism and the world as a whole. In another she acknowledged again how rough a year this has been for many people and expressed her hope this movie brings them and everyone else some joy and relief.
Wiig also returned to her “Saturday Night Live” home the weekend before release.
A substantial profile of Jenkins made lots of headlines for including her thoughts on the HBO Max situation, the prolonged negotiations that finally allowed her to return for a sequel, her plans for a third film and more. Another interview had her revealing how studio notes influenced the ending to the first movie.
Let’s face it, the campaign is one of the best of the year, even despite all the delays and awkwardness, because of this single image.
On top of what it’s selling to audiences, the campaign has a strong message for entertainment industry executives who feel threatened by change they’re not in charge of.
How Netflix has sold a story of isolation and desperation.
The new movie The Midnight Sky probably wasn’t intended to be as timely as it has wound up becoming. Based on the book “Good Morning, Midnight” by Lily Brooks-Dalton, the film stars George Clooney, who also directed, as Augustine, a scientist in the Arctic who has survived a global pandemic that wiped out much of the world’s population. He’s engaged in a desperate attempt to communicate with the crew of Æther, a ship returning from a mission to a potentially habitable moon of Jupiter who are unaware of the danger that awaits them back on Earth. Sending that message is difficult, though, forming much of the movie’s drama.
Also starring in the film are Caoilinn Springall as Iris, a young girl who encounters Augustine in his Arctic isolation, and Felicity Jones, Kyle Chandler, David Oyelowo, Tiffany Boone and Demián Bichir as the members of Æther.
Initial reviews were middling, calling it a bit muddled, a reception reflected in its 55% rating on Rotten Tomatoes. Still, there was at least some feeling it could result in a bit of awardsspeculation, especially for Clooney. And Netflix has given it a campaign that not only seems Oscar-ready but is also far too relevant to today’s world.
Augustine stares into the sky, which is also shown inside the frame of his head, on the first poster (by marketing agency P+A), released at the end of October. It’s a simple but suitably atmospheric image, especially with the copy reading “There’s a universe between all of us.”
On the final poster (by marketing agency Concept Arts), which came out earlier in December, that copy is removed and replaced with the more vague “Hope finds a way,” which isn’t quite as effective. This time, though, the main image shows both Augustine and Iris in the arctic environment they attempt to traverse. A massive planet hangs in the sky above them, hinting at the story’s connection to space travel.
The first trailer (2.2 million views on YouTube) – teased ahead of release and promoted during a late-October edition of “Monday Night Football” – opens by showing that communication is not happening in either direction. Augustine can’t reach the crew of the Ether and they haven’t heard from Mission Control in weeks. He’s trying to warn of a cataclysmic event that’s happened on Earth while they were in deep space. From there we see he and the young girl with him try to reach a more powerful antenna while those aboard the Ether recount what’s happened on their long journey. Time is running short for both parties, though, making the stakes higher with each passing moment.
The final trailer (1.2 million views on YouTube) came out in early December, starting off by showing Augustine explaining to Iris what all is in his lab and what he’s trying to do. Their journey on Earth is shown alongside the crew of the Æther and their attempts to reach someone – anyone – on Earth as they get closer and closer to returning. It’s all very dramatic, with snowstorms and meteor showers and more, making the film look like an enjoyable piece of drama.
Online and Social
No website about the actual movie, but Netflix, in addition to supporting the film on brand social channels, created the-midnightsky.com. On that site you can record and send a message to someone, which is then played as an AR hologram placed in the room they’re standing in.
Advertising and Promotions
Netflix celebrated the end of principle photography in February, announcing the movie was coming later in the year. In September news came that Clooney would speak about this film and more during October’s 64th BFI London Film Festival.
A recent installment of Netflix’s “Bucket of Movies” had Clooney sharing his thoughts on various classic film titles. He also reminisced about his career path and the roles that contributed to that career.
Media and Press
Clooney was interviewed about the movie and how he approached directing it in an article that also included some first look stills. Another brief interview with Clooney had a few more story details and more.
A feature profile of Jones had her talking about filming the movie, including how Clooney made adjustments to the production to accommodate her pregnancy mid-filming.
Another interview with Clooney had him talking about the story of the film and finishing the project during quarantine. He and Springall both spoke on the experience of filming in Iceland, dealing with the subsequent isolation and lots more. In additional interviews Clooney also covered the challenges of directing, especially the space sequences, working with Springall and more. With composer Alexandre Desplat he talked about creating the score, especially during the recent shutdowns, and how it adds to the emotional messages of the film.
Late night talk show appearances included Clooney and Chandler on “Kimmel,” Clooney on “The Late Show” and elsewhere.
How Clooney and the rest of his team handled both the extreme conditions during production and the challenges of the post-production situation was covered in a lengthy feature just recently.
While, as stated, the reviews haven’t been wholly positive there’s a good story being sold here, albeit one that seems to mash up a handful of movies we’ve seen before. Even more than that, what the audience is being presented here is a strong solo outing from Clooney, who have a solid track record both in front of and behind the camera.
With the focus, particularly in the press interviews, on how post-production was handled in isolation a nice hook that’s relevant to the film was offered, one that everyone seized. That helps make the story, despite those reviews, something that may benefit from the fact we’ve all felt like we’re stuck on our own in a desolate arctic outpost for months, even if we don’t live in Green Bay.
How Universal has sold a period drama about the power of news.
Tom Hanks stars in News of the World, the latest film from writer/director Paul Greengrass. Hanks plays Captain Jefferson Kyle Kidd, a retired soldier who now travels across America’s 19th century western frontier telling settlers and others stories from the rest of the country and the world. While in Texas, Kidd encounters Johanna (Helena Zengel), a young white girl who has been raised by a Kiowa tribe and is now being returned to her remaining family. The two encounter all the dangers the rural west has to offer as they try together to make it to their destination.
First reactions started coming out a few weeks ago, mostly positive, and the movie currently sits at a very good 86% Fresh on Rotten Tomatoes. Universal’s campaign for the film has been as serious and dramatic as you would imagine given both the subject matter and those behind and in front of the camera. Let’s take a look.
Capt. Kidd and Johanna both stare off into the middle distance with the cloudy frontier sky behind them on the poster (by marketing agency BOND), released in October. It’s a simple but effective image that shows off the main selling points of the film, particularly Hanks in a dramatic role. The “Find where you belong” copy is a little vague but is likely intended to communicate the journeying elements of the story.
The first full trailer (9.4 million views on YouTube) was released in late October, introducing us to Capt. Kidd as someone who visits remote towns to share news from elsewhere in the country. In that capacity he meets a young woman who has been raised by Native Americans after her white family was killed. But keeping her safe will be difficult given not only his own unfamiliarity with children but also the robbers and other bad people who were plentiful in the American West at the time.
Online and Social
You’ll find the basic marketing content on the movie’s official website, including the trailer, synopsis and more.
Advertising and Cross-Promotions
The first footage from the film came in a TV spot released in early October. That footage shows Kidd and Jane setting out on their journey, including some of the dangers and problems they’ll face along the way.
A short featurette with Hanks talking about the story of the film and the arc of his character was released later that month, just after the first trailer came out. AMC Theaters had another exclusive featurette that touched on the political and social climate the movie’s story takes place in.
Short videos like this were used as pre-roll and on social media.
Media and Publicity
While it wasn’t the first press for the movie, the news that it was among the first titles to be set loose by Fox in the wake of its acquisition by Disney was noted by many. Universal was the savior who likely rescued it from oblivion, eventually setting a Christmas 2020 release date.
Vanity Fair debuted the first stills from the movie in October along with some quotes from Hanks and Greengrass.
A profile of Zengel included comments from Greengrass along with her talking about getting the role and working on set with Hanks, who appeared on “The Late Show” last week.
I want to feel like this campaign was effective, mostly because I’m intrigued by the story and a fan of all involved in making the film. But the marketing seems like it could have happened in any year – particularly during awards season – and there’s little here that offers a sense of urgency or immediacy to what’s being presented.
What I mean is that here at the end of The Year of Our Lord 2020, we’ve all been through some stuff. So the story of the film, that Capt. Kidd is hoping to make something of himself and create an informed and entertained citizenry in the wake of a divisive and deadly conflict is more than a little timely. Hitting that element of the story could have made a stronger impact instead of seeming like a potential awards contender from any year.
That’s not to say it’s a bad marketing push, just that it could have been recalibrated to be a bit more relevant to the moment it’s being released in.
How Netflix has sold a powerful – and emotional – drama.
Ma Rainey’s Black Bottom, out this week from Netflix, was likely always going to be a major release. Directed by George C. Wolfe, based on a play from August Wilson and starring both Viola Davis and Chadwick Boseman (among others), it has all the credentials of a high-profile late year awards contender.
Of course it took on additional significance when Boseman passed away suddenly in late August, with this as his final on-screen performance.
The story unfolds over the course of a single summer afternoon in and around a 1920’s Chicago recording studio. Ma Rainey (Davis) is there to record with her band, including newcomer Levee (Boseman), a hot young horn player. As those sessions are interrupted while Ma fights with the white managers and owners for control over her music and career, Levee’s brashness leads the other, more veteran players to begin telling stories of the past, both true and exaggerated.
When reviews began coming out in mid-November, a couple weeks before its limited theatrical release, it became clear the movie was headed for potential awards consideration, especially for David and Boseman. Netflix’s campaign has sold the film as exactly the kind of performance showcase you would expect from such a release.
A series of starkly-photographed character posters (by marketing agency GRAVILLIS) came out in mid-October. All brand the movie as “August Wilson’s Ma Rainey’s Black Bottom,” which is a good way to highlight the source material and give credit to the creator. They also all sport the tagline “It would be an empty world without the blues,” a great way to communicate the attitude of the characters and story.
The final poster, released just a short time later, shows just Ma Rainey and Levee in performance-like poses, this time with the copy reading “Everything comes out of the blues,” which is an accurate statement on many levels.
In mid-October the first trailer (738,000 views on YouTube) was finally released. After opening by introducing us to Ma Rainey herself and showing the status she has in the Blues community we meet Levee, the hot young horn player who comes in and immediately acts like he owns the room. While the two considerable talents clash, they are also crossing swords with the white management that owns the recording studios, night clubs and other means of getting their music out. It’s a great trailer that shows the vibe of the movie, highlighting the two lead performances in particular.
Online and Social
There isn’t a whole lot of information beyond the trailer and a tool for looking up local theater showtimes on the official website for the film, but the fact that Netflix created one in the first place is unusual and indicates the level of effort it’s giving the release.
Advertising and Promotions
Plans for a virtual premiere event intended to include some of the cast and filmmakers discussing the story and more were cancelled when Boseman passed away in late August, just days before that event was going to happen.
About a month later Netflix released the first batch of stills from the film.
The virtual event was eventually held in late October and naturally the talk among the cast and crew included comments on the movie as a whole but also Boseman in particular.
MoMA announced the film would serve as the Centerpiece selection at this year’s virtual contenders showcase.
A featurette with music supervisor Branford Marsalis talking about the history of the story, the music of the film and more came out in early December.
The Gotham Awards announced it would be honoring both Boseman and Davis.
Another short featurette had Washington and much of the cast talking about Davis’ performance and more. The impact of Boseman’s presence on set and his preparation for the role was covered in another while a short video had Wolfe talking about his experience working with the cast.
Wolfe along with the movie as a whole were honored by the Museum of the Moving Image during that institution’s first virtual awards ceremony.
TV spot-like promotions were used on social media and video sites, distilling the story down to its basic dramatic elements and showcasing the performances found in the film.
Netflix scheduled a virtual watch party for this evening with input from the cast and crew.
Media and Press
Costume designer Ann Roth was interviewed about how she created the look of the characters. Similarly, DP Tobias Schliessler talked about the experience of working with Davis and Boseman.
An interview with Davis allowed her to talk about the lessons she learned from the character as well as her thoughts on making the movie.
Wolfe was interviewed about taking on one of Wilson’s plays as well as the performances he captured and more. He and Davis covered similar ground in another conversation.
Davis and much of the rest of the cast and crew talked more about bringing Wilson’s characters to life and working with Boseman on what would be his final role.
Costar Colman Domingo shared his passion for Wilson’s work and how that led him to enthusiastically take the role when it was offered. He and fellow costars Michael Potts and Glynn Turman appeared in a joint video interview talking about the relevancy of the story and more.
It’s understandable that, to a large extent, the campaign has become a sort of public eulogy for Boseman. After all, his tremendous was taken from us far too soon and far too suddenly. But it’s at least a testament to his talent that this kind of big performance became his final artistic statement to the world.
Aside from that, and the way the marketing makes sure to equally focus on Davis and her performance, what you have here is a great campaign for a period piece that’s poised to make a strong end-of-year awards run. Put together you have a message that will likely appeal to both audiences and critics.
A few thoughts while pondering whether James Corden’s denial a “butthole cut” of Cats exists is proof it totally exists.
Just like the rest of 2020, the last week has contained eight months worth of news. And that’s just in the entertainment world and doesn’t even take into account the attempted coup taking place or the fact that an entire political party has pulled away the mask to show off its anti-democratic nature.
Warner Bros. Uses HBO Max To Plan For The Future
Yes, the news that Warner Bros. plans to release its entire 2021 movie slate to both theaters (at least any that are open) and HBO Max is a huge deal.
No, this is not WB offering up theaters as a sacrifice. I don’t think Jason Kilar or anyone else actively wants to destroy the theatrical exhibition industry, but they *do* want to maintain their own business and for the foreseeable future going direct-to-consumer is the best way to do that.
To that point, a survey from Deloitte reports most people aren’t going to feel comfortable going to a theater until at least the middle of next year. That means the theater industry isn’t likely to move upward significantly until the second half – or later – of 2021, a window that roughly lines up with when enough of the U.S. population has received the pending Covid-19 vaccines to impact communal spread.
Despite that, WB’s announcement seems to have unlocked the rare achievement of honking off almost everyone within the movie industry.
Theater chains were angered because they thought the Wonder Woman 1984 shift to HBO Max was a one-off. Their stock prices dropped just as you would expect them to and AMC Theaters has once again said it will have to secure an influx of cash to survive past early 2021. Independent cinemas weren’t thrilled either.
Directors Denis Villeneuve and Patty Jenkins, who helmed Dune and WW84 respectively, have blasted the move, with Villeneuve specially calling out how it betrays a lack of respect for the art of cinema and instead is about the debt management of a telecom behemoth.
There’s also, of course, director Christopher Nolan, who said it showed WB panicking and “dismantling” a great studio. Whether or not he’s self-aware to realize the theatrical release of Tenet he insisted upon despite the pandemic helped lead to this change remains up in the air.
In fact the Director’s Guild of America is pretty upset as well.
Legendary, the production company behind Godzilla vs. Kong and more, which reportedly had less than an hour’s notice before the announcement was made and is upset because it had Netflix on the line for GvK but still wanted a theatrical release.
Disney Announces [checks notes] Literally Everything
On the heels of Warner Bros. grabbing a hammer and walking over to the “Break glass in case of once-in-a-generation-pandemic” box where it kept HBO Max, Disney took its Investors Day presentation to announce scores of projects and changes. Those announcements were, depending on who you talk to, either A) the greatest things ever, of B) soulless exploitation of beloved characters with no respect for the individuals who created them decades prior.
Those announcements included lots of Star Wars series and films and lots of Marvel series and films along with plenty of Disney, Pixar and other projects. Of note:
The timing of Jenkins being announced as the director of an upcoming Star Wars movie is coincidental to that of the WW84 HBO Max news. The former has likely been in the works for a long time while the latter just broke a week ago, so I’m not reading too much into that.
20th Century Studios and Searchlight Pictures, the remnants of 20th Century Fox, are becoming producers of content for Hulu, which is kind of a sad fate for a once major movie studio.
Disney is doing what WB didn’t and clearly laying out tiers for feature film distribution. Tier One (Theatrical): MCU, including Black Widow, and Star Wars; Tier Two (Windowed): Raya and the Last Dragon etc will get the same Disney+ Premier Access Mulan did; Tier Three (Disney+): Live action remakes like Pinochio and others or legacy sequels like Sister Act 3.
What all of this means to my eye is that the battle lines for the second phase of the Streaming Wars have just been laid out.
Companies like Netflix and even Amazon Video have long felt that the key to expanding on existing success was the development or acquisition of some major blockbuster movie franchises all their own. Netflix might have something brewing if the Russo Bros. can build on the success of Extraction, which they said they have plans to. Recent hits like The Old Guard and Enola Holmes could also easily be turned into ongoing series if the creators are on board. And Amazon might be hoping it can do something with Without Remorse, which it acquired from Paramount.
Warner Bros. could do that with their own properties on HBO Max, but how it handled the recent news means they’re now working from a deficit in terms of goodwill among agents, directors and others.
Right now Disney is the only player actually executing on that strategy, counting on the impressive portfolio of brands and properties it manages to keep people coming back to Disney+ for spinoffs, sequels, prequels and other expansions.
If I were a betting man, I’d say that a year from now we’re having a very different conversation. Platforms have realigned, studios have altered their strategies and at least one studio has been purchased by a tech company, probably either Apple or Alibaba.
Whatever happens, this last week has been a very, very interesting two months.