The New Mutants – Marketing Recap

How Disney is selling the much-delayed mutant thriller.

Of all the movies to become the first major studio release to hit theaters since mid-March, The New Mutants seems the most unlikely, for a number of reasons.

First, there is of course the fact that so many others – including titles like Mulan and Tenet that have been held up as saviors of the theatrical industry – have been delayed anywhere from a few months to a year to indefinitely.

Second, The New Mutants itself has a long history of having its release delayed. Fox, prior to its acquisition by Disney, originally slated the film for August 2018, it’s also been on the calendar for early 2019, late 2019 and, finally, March of this year. Some of those delays were efforts to avoid other releases like Deadpool 2, some reportedly to allow writer/director Josh Boone to reshoot portions of the film to make it more like his original horror-centric vision instead of the YA story the studio requested.

When the Covid-19 pandemic closed theaters in March, right as the film was about to open, it seemed the movie’s fate was sealed and that Disney would finally punt it to Hulu (a move that had long been speculated on) or PVOD.

But no, that was not to be, as The New Mutants was moved to August, meaning it’s about to hit theaters amid a wave of questions about whether going to the theater, even with the protocols put in place by NATO, is a safe activity to participate in.

With the main X-Men film series now complete and the fate of Deadpool up in the air, The New Mutants is now the sole mutant-based film franchise at Disney. This isn’t the first time the characters have been in that situation, since their 1982 Marvel Comics debut was a spinoff from the successful X-Men comics, an attempt to introduce younger characters to the series.

In this case, the characters and premise are slightly different than what appeared in the comics. Maisie Williams plays Rahne Sinclair, a young woman who wakes up in a strange hospital with no memory of how she got there. Mysterious and unexplained things keep happening as she meets some of the other patients/inmates, including Illyana Rasputin (Anna Taylor-Joy), Sam Guthrie (Charlie Heaton), Danielle Moonstar (Blu Hunt) and Roberto da Costa (Henry Zaga), each of which has special powers just like Rahne. They slowly come to understand they’re being studied, not helped, and seek to unlock the secrets of the institution and free themselves from it.

It shouldn’t be surprising, given everything laid out above, that the marketing campaign has zigged and zagged over the years, starting and stopping and shifting tone with some frequency. At times it’s been sold as a straightforward horror film, with the characters’ super hero identities conspicuously missing. More recently, it’s those super powers have come more to the forefront, though the thriller aspects of the story have still been prominently featured.

The movie was tracking for an opening weekend of $15-25 million tracking, the lowest in the X-Men franchise, but that was in advance of the March release date, and no updated estimates have been made because so much is in flux. Likewise, there are no reviews to date on the film.

The Posters

The first poster (by marketing agency Ignition) came out a lifetime ago, in December, 2017. It takes an image from the trailer, specifically a photo of various faces trying to poke through an unexpectedly flexible wall, and makes it the central focus. This would be part of the horror-centric angle that was initially presented to audiences in the early days of the campaign.

Over two years passed before the next poster was released. In this case, Disney used the social media app Weibo to release a special poster designed in the style of Chinese tapestries to celebrate Lunar New Year in January of this year.

Later that month another poster was released that began to more clearly display the characters. This time they’re all shown standing together, but with the movie’s title scratched across the picture, revealing the skulls of each character in a slightly creepy way. Another poster from February has them all huddled in a dark and scary hallway, their eyes all lit up, conveying both the eerie setting and they are all slightly unusual in their own ways.

An IMAX-specific poster has the nascent team standing outside the institution they’re being kept in, with Magick (Illyana) at the front with her sword at the ready. For Dolby Cinemas, they’re arranged like fingers in a bloody handprint on a concrete wall. The Cinemark XD poster arranges their faces in a darkly contrasted photo that’s reminiscent of a teen drama from the 1980s. Finally, the Fandango one-sheet, released about two weeks prior to the movie hitting theaters, takes the concepts back to something more simple, showing all the main characters standing in what’s clearly some sort of cell, with the shadow of wire grates appearing on their faces and the wall behind them.

The Trailers

It’s hard to overstate how odd the first trailer (12 million views on YouTube) from October, 2017, is. There are no character introductions, no sense of what the story might be or anything else. Just a slowed down version of “Another Brick In The Wall Part 2” sung by a children’s choir and footage that sells it as a horror movie. There are even standard horror cliches like strange-colored IV bags, faces that try to protrude from walls and more. It mentions mutants a couple times, but other than that this isn’t notable at all and could easily be selling any of a dozen generic horror films featuring a young cast that are released every year.

In early January of 2020, over two years after that initial spot, the second official trailer (8.2 million views on YouTube) was released as Disney finally gave the movie a locked-in release date. It starts out by showing Dani is the audience’s entry point into the story, having been sent to a mysterious facility after surviving a tragedy that killed the rest of her family. She’s there with other mutants like her, most of whom we meet during a group therapy session. The hospital isn’t what it appears to be, though, and seems to be more interested in torture than healing.

Where the first trailer seemed to be selling the movie as something like The Ring, this is more of a traditional super hero movie, albeit with an apparent focus on psychological torture being conducted on adolescent mutants. That’s a stronger message and allows the trailer to present a more coherent and intriguing story to the audience. But, strangely, it was the last full trailer released.

Online and Social

Very odd that the official site for the movie is so stark and bare, featuring only the most basic of information about the film. It’s not like there hasn’t been time to work on it, but there are no character introductions or anything else to be found here.

Advertising and Cross-Promotions

It was surprising, given the ups and downs the movie has experienced, when it was among those Disney showed off to exhibitors and press at CinemaCon 2019, two years after it was first included by Fox at the show in 2017. The studio maintained it would be getting a theatrical release – dispelling rumors it was being shunted to Hulu or another streaming service – and was still on track to hit theaters this year.

Things went quiet for a good long while then until March of this year, about a month before the planned April release date. At that point a TV campaign began that included spots focusing on Dani’s story as she’s taken to the mysterious facility and slowly learns the truth of what’s happening to her and the others, as well as how dangerous mutants are and how they need to work together to escape and survive.

That last spot in particular seemed to mark a new approach to the campaign, one that leaned more fully into the idea of super heroes instead of just positioning the movie as a horror film with gifted individuals.

A roundtable with the cast was released on The CW, an attempt to reach that network’s young audience.

Just as things seemed to finally be rolling, another delay – this time because of Covid-19 related theater closures and disruptions – happened, putting the movie’s future once more in doubt. In May a new August release date was announced, but that date was taken as aspirational more than anything else, and our collective breath was not being held. Still, a new phase of the campaign kicked off shortly after that.

In June released one of their “101” videos that gave viewers an overview of the team’s history and members in comics.

A short teaser introducing the characters and some of their powers was released in early July, also announcing the cast and crew would participate in a remote panel as part of Comic-Con @ Home later in the month. That panel ended by showing off the movie’s opening sequence, which certainly sets a chaotic tone as we see Dani in the middle of some kind of attack that ends with her father’s death and her being taken to the institute.

In mid-August the advertising campaign picked back up with spots that showcased the mystery the characters find themselves in the middle of along with the powers each possesses. Further spots teased more of the action and then, 10 days out, began counting down to the movie hitting theaters.

A featurette hosted by the cast allowed them to introduce their characters and their powers along with the basic outline of the story, shown here to be a mix of psychological horror and super hero action. More detailed introduction videos went a bit in depth on Rahne, Roberto, Dani, Sam and the rest of the characters.

On Spotify, Disney has created a “Young and Powerful Playlist,” a collection of songs “inspired by” the movie and curated by both Boone and the cast.

Media and Publicity

There were certainly conversations about the movie before this but the first major press for the movie came when it was announced it was being pushed by several months to 2019. Shortly after that Boone talked about the tone of the movie and how it was going to push the boundaries of the PG-13 rating, as well as how the characters in the story were too messed up to associate with the more “normal” X-Men.

News broke in late 2017 that the movie’s release date was being pushed well past what it was originally scheduled for, with it later coming out that the delay was at least in part to do reshoots that would introduce a whole new character to the story. That initial delay, which moved it from 4/13/18 to 2/22/19, was followed by another one to 8/2/19, almost a year and a half after its original release date. That’s a *huge* shift and one that, a report later claimed, was due to nearly half the movie needing to be reworked to bring it in line with studio expectations.

Further insights into the delay said Fox was in part reacting to the success of It with a trailer that was very horror-oriented and the reshoots were designed to bring the movie more in line with that expectation, which was different than what was originally filmed. Interestingly, that gave Boone a chance to do what he originally wanted to, since he had to curb his horror-leaning instincts during the initial filming.

While promoting other projects the cast would occasionally talk about this movie as well. Heaton talked about playing Cannonball while on the press circuit for Marrowbone,

Producer Lauren Shuler Donner commented back in February on the movie’s frequent delays and uncertain future with the Fox/Disney merger, saying she hoped the movie still got a theatrical, not streaming, release. The question release date came up when Williams was out promoting the final season of “Game of Thrones,” with the actor saying reshoots had yet to happen – a year after they were reported to be in the works – and she had no idea when the film might finally come out.

Producer Simon Kinberg dismissed concerns over the reshoots and subsequent delays, saying it was all due to some simple “pick up shots” being needed while actor schedules were difficult to wrangle.

Unsurprisingly, the movie’s fate seemed to be even more in doubt following the severe underperformance of Dark Phoenix at the box office. Disney execs reportedly saw little potential in a theatrical release of the film, fueling renewed speculation it would be dumped to Hulu or killed outright.

With all the reports of reshoots – which were never confirmed to have happened – that had circulated, Boone stated in January that the movie slated for release represented his version of the story.

A new batch of photos and character descriptions were released in mid-February to familiarize audiences with who would be in the movie.

During the Emma media tour, Taylor-Joy spoke about this movie and how she’s handled the delays between production and release. A profile of Heaton included him talking about his hesitancy in joining the movie over concerns he would be typecast.

Boone confirmed the story would feature a full-out LGBTQ love story between two main characters in an interview, setting it apart from other franchise films that promote such elements but then wind up allocating it to blink-and-you-miss them situations and characters. At the time of the Comic-Con @ Home panel, Boone hinted that this could be just the first of a planned trilogy of films that ends with a massive crossover story pulled from a key X-Men comics event from the 80s. He also was interviewed about the long time between production and release and what factors might have influenced that, along with how the movie fits into his overall career.

Williams appeared to talk about this movie and more on “The Tonight Show.” She was interviewed again about the film finally being released and what got her involved in the project.


The shift in tone that the movie’s campaign has undergone isn’t completely surprising given it’s been spread out over almost three years. In that time there have been substantial changes not only in the structure of the studio behind the film, but also in the fate of the X-Men franchise this is part of and, of course, the world in general.

So much time has passed there’s a good chance that the false starts between the end of 2017 and the beginning of 2020 have fallen out of many people’s memories. For all intents and purposes, then, the campaign started fresh around April with the August release date in place.

Using that as the yardstick, this has been a relatively successful campaign, presenting an interesting mix of comic book action and psychological terror. Those themes are consistent through the posters, TV spots and other elements, putting Williams’ Rahne at the forefront but promising lots of other characters with unique powers and backstories to offer audiences.

That there’s no real connection to the X-Men cinematic series to date is obvious but it’s unclear how much that really matters since it’s not what’s being sold here. If the goal was, as has been reported at various points, to present something different along the lines of Deadpool or Logan, the marketing here achieved that goal.

The question then becomes whether the campaign was effective enough to convince people to come out of their homes at a time when public health officials are saying they really shouldn’t do so to see a movie that doesn’t flaunt its connections to a popular franchise and features all-new characters the audience doesn’t already know.

Those are high hurdles to clear, and without more recent tracking or other data it’s hard to tell if it did so. While there may be enough theaters open to support a release like this, there may not be enough people who have been convinced by this campaign to make it a success.

Picking Up The Spare

Two more character introduction videos came out after the movie was in theaters, on for Sam and one for Illyana

More stories about the movie’s backstory and history, including reports that Fox was massively unhappy with the first script from Boone and almost spiked the project entirely. Meanwhile, Bob McLeod, who created the characters for Marvel, took issue with not only how they appeared on screen – though he praised the actors – but also with the fact that Fox/Disney couldn’t even spell his name right in the credits. 

Boone took a potshot at Disney by claiming the gay love story in the film was much more substantial than the one barely seen in The Rise of Skywalker

Another clip/commercial came out that shows Illyana confronting something creepy happening in the hospital. Additional spots encouraged audiences to “find yourself” and more. IMAX also put out a promotional spot for the big screen format and released a brief exclusive interview with Boone.

Ford v Ferrari – Marketing Recap

With a predicted $23-30 million opening weekend, the true story of a race car rivalry is expected to win the weekend.

ford v ferrari poster 2Car rivalries are probably old hat in the modern world when there are so many other things going on, but back in the day Ford aficionados did not associate with Chevy owners. You lived and died with such things and preferences were passed on through generations like eye color.

The new movie from director James Mangold uses just that kind of high-stakes rivalry as its premise. Ford v Ferrari is set in 1966 and is about just what the title implies. The Ford Motor Company – particularly owner Henry Ford II (Tracy Letts) and president Lee Iacocca (Jon Bernthal) – want to bolster their reputation by building a car that can win the 24 Hours of Le Mans. That race has traditionally been dominated by cars built by international rival Ferrari.

To help coordinate the effort, Ford enlists designer Carroll Shelby (Matt Damon), who insists their best chance lies in recruiting famed driver Ken Miles (Christian Bale). The two set out to build and race a car that is light years beyond what Ford currently has in production in a matter of months. Their efforts are not without incident or pushback from others who feel what they’re doing doesn’t make much, if any, sense.

Fox’s campaign has emphasized the true story of the events depicted in the film, selling it as a movie made by and for adults, a message Disney hopes will resonate with both audiences and awards voters.

The Posters

ford v ferrari posterThere’s lots of white space on the first poster (by marketing agency LA)from late May, with Ken and Carol shown at the bottom alongside the car they collaborated on. The pair, copy on the poster explains, “took the American Dream for a ride.”

Ken and Carol are walking through the pits of a race track on the second poster (by marketing agency Legion Creative Group) released in September. It’s a similarly minimalist design here, the focus remaining on the two men and the car they’re alongside.

An IMAX poster shows the two main characters in action in a different way, the pair talking around a car that’s sitting in the middle of the desert where they are presumably testing it. It’s a much different visual tone than the other two one-sheets, but it works to get the audience’s attention. Copy at the top encourages people to “Experience the ride” as an obvious play on the story. For the Dolby Cinemas poster there’s more of the cast shown in a painting that also includes two cars going against each other.

The Trailers

After first briefly meeting Ken in the opening of the first trailer (6.6 million views on YouTube) we transition to Shelby being recruited by Lee Ioacocca to come design and build a car for Ford that can be raced at Le Mans. Shelby says they need Ken, but he’s going to be hard to recruit and is skeptical the American company can beat Ferrari, especially in such a short period of time. There’s lots of racing and lots of bluster and bravado in the rest of the trailer as we see the efforts of Ken and Carol’s work be put to the test time and again.

The contentious history Shelby and Ken have for each other is featured at the beginning of the second trailer (9.2 million views on YouTube) released in September. After that we see Ioacocca is driven to beat Ferrari at Le Mans because the Italian carmaker insulted him, so it’s a matter of pride and ego for him. From there it’s shown to be Ken and Shelby against everyone, including those at Ford who feel they’re the wrong people for the job, but the pair are determined to develop the fastest car around and do it on their own terms and in their own way.

Online and Social

Fox’s website for the movie is nice enough, using its standard content format, but there’s nothing particularly notable about what’s there. Sadly lacking, as usual, is any context or additional information about the actual events depicted in the film.

Advertising and Publicity

Aside from general comments about the movie and updates made during production, the first real publicity effort came in April when it was included by Disney in its CinemaCon presentation, including a bit of footage. That inclusion marked one of the first times Disney was selling a title it had acquired from Fox’s list of active projects.

In July the movie was listed among those screening at this year’s Toronto International Film Festival and was later included in the lineup of both the Telluride Film Festival and the Hamptons International Film Festival. Those festival screenings, Toronto in particular, generated a good amount of positive buzz for what many called the kind of solid, professional, well-made studio film that is getting sidelined these days in favor of franchise spectacle.

TV advertising began in early October with a “Special Look” that included most of the basic story points shared in the trailers. Additional spots singled elements of the story like the clarity that comes in racing or the determination of Ken and Shelby to overcome long odds.

An AMC Theaters exclusive featurette had Damon and Mangold talking about the real life events that inspired the film. The two also appeared in a National CineMedia-exclusive promotional video. Another featurette adds Bale to the conversation as they talk about the nature of race car driving.

News broke in mid-October that, defying some tradition, both Bale and Damon would be put forward for consideration as Best Actor in this year’s Academy Awards voting.

The first clip came out in late October showing Ken confronting Shelby about some problems with the car and the work being done. Ken flirts with his wife in a later clip while another has Ken talking to his son about “the perfect lap,” a scene glimpsed in the trailers.

Last week a new round of TV advertising kicked off with a spot that started the 10 day countdown to the film hitting theaters. Online ads used the same design elements found on the posters to drive traffic to the ticket-buying website.

ford v ferrarri online ad.png

IMAX released an exclusive spot that emphasized the speed of the race cars in the story.

Last week Fox held the movie’s red carpet premiere in Los Angeles, with two cars on hand for the talent to sit in for photo ops.

Media and Press

Comments from Mangold about how mid-level dramas like this were an “endangered species” accompanied a first look photo released in late May. Months later, between Toronto and Telluride, the director was interviewed about making high-level dramas and much more.

While in Toronto, Bale and Damon were interviewed about what they took away from the production Bale also talked separately about losing weight for the role, working with Damon and the state of the market for original films. The latter was also the topic of a joint interview with the stars while Damon spoke about his interactions with Bale.

Damon talked cars with Jay Leno on an episode of the host’s web series. He also showed up on “Conan.” Costar Josh Lucas promoted the movie when he appeared on “Kimmel” in early November. Bale and Damon were interviewed on “CBS Sunday Morning” while Damon appeared on “Ellen” on his own.

The cast and crew spoke about production, including Bale’s weight loss following a much heftier (physically) role at the premiere. An interview with Mangold allowed him to praise the technical teams on the film and explain how they contributed to the story.

How the production team recreated classic cars no longer widely available was the subject of a feature in mid-November. The movie’s director of photography spoke about the look of the movie and framing the racing while the effort involved in recreating a historically accurate Le Mans race was covered here.


At the risk of indulging in a bit of lazy writing, Fox’s campaign for Ford v Ferrari hums along like a well-tuned engine. It never stalls or stops and it keeps you engaged and active for every turn. There’s nothing here that’s going to blow anyone’s doors off, but it is completely and utterly dependable.

Throughout the campaign, across any and all media that it could have been encountered on, there’s a clear and consistent brand identity that’s used. You see that same red, white and blue design scheme – one intended to reinforce the American v Italy nature of the story – on the posters, online ads and even in the trailers. That means audiences are reliably getting the message that this is a simple but powerful story featuring two popular actors. It conveys the setting and more time and again, just as any effective marketing effort should.

Picking Up the Spare

IMAX released an exclusive interview with the cast and crew while Fandango offered an exclusive featurette about the making of the film.

Additional interviews have run with Letts, Damon and Bale and the team that recreated the famous Le Mans race course.

Ad Astra – Marketing Recap

You can read my full recap of the marketing campaign for Ad Astra at The Hollywood Reporter.

Online and Social

There’s nothing wrong with the website for the film, it just never does anything to expand beyond the site template used by Fox for many of its films and doesn’t feature much material of interest unless you want to watch the trailers again.

Media and Press

Gray addressed some of the scheduling issues in late February when he said sequences were still being finished, but admitted it might not be done in time for a planned debut at Cannes 2019. That seemed to be confirmed in early May when the movie was shifted to a vague “later,” presumed at the time to be a fall release date that would be better positioned for a potential awards run.

After it was finally given an official release date and the marketing had begun, Gray offered more thoughts on the history of delays and other impediments to the movie being seen by the public. That included Fox being subsumed by Disney, which added its own set of unique complications. While in Venice Pitt talked about how he felt the story was one of the requirements of masculinity and the burdens thereof.

Empire released an exclusive trailer just before the Venice Film Festival began. That one focused much more tightly on Roy’s worldview, using that to underscore the connection between the search for his father and his own search for answers about the universe.

A profile of Pitt touched on how this is one of two high-profile roles for the actor this year, the other being in Once Upon A Time In Hollywood, and allowed Gary to talk about how Pitt’s laid-back attitude was perfect for the character he plays. He received a similar profile in GQ.

The Washington Post hosted a conversation with Gray, Pitt and NASA employees about how the filmmakers worked to make the space sequences as realistic as possible.

Further interviews with Pitt allowed him to talk about the movie and its story while Gray was interviewed about how he wanted to strip away some of the mythical trappings of the astronaut identity in the story.


Picking Up the Spare

Seems the promotional placement for Lockheed Martin was more significant than was even hinted at in the campaign.