How Netflix has sold a star-studded action comedy.
Red Notice, out this week on Netflix after a brief theatrical run, features the kind of cast that is any producer’s dream. Dwayne Johnson stars as FBI profiler John Hartley, who is on the trail of two high-profile thieves: Sarah Black (Gal Gadot) and Nolan Booth (Ryan Reynolds). When Hartley is wrongfully accused of being a criminal himself he has to team up with Booth to bring in Black and prove his innocence.
Written and directed by Rawson Marshall Thurber, the movie has been sold as a big extravaganza with major star power. Let’s take a look.
announcement and casting
Universal Pictures won a bidding war for the project in early 2018, beating out several other studios for a movie that was seen as a sure thing with Johnson attached. Gadot was added later that year.
The first bit of news about the movie was kind of unusual in that it was a revelation that Johnson had asked for $1 million to promote the film to his social media followers in the lead up to release. That’s…not that big a deal? You could argue this kind of promotion would be in the talent’s own self-interest anyway, but if someone’s willing to pay you to do it as well, go for it.
In July 2019 it was revealed Universal had let the project go, with Netflix picking it up while at the same time dismissing Universal’s previously-announced release date and adding Reynolds to the cast. Right after that it was reported the movie’s budget was somewhere around $200 million, a substantial figure for an original property.
The movie was one of many to have its production put on hiatus because of the Covid-19 outbreak. Even so, Reynolds mentioned it briefly when virtually appearing on “The Tonight Show” earlier this year.
the marketing campaign
The first footage came in January, part of Netflix’s announcement of its ambitious 2021 feature film slate.
A release date was finally announced by Netflix – via the social media profiles of the cast – in July.
The first trailer (4.1m YouTube views) was released in September. It sells the basic story of Hartley having to team up with Booth to take down Black but like the rest of the campaign it’s primary goal is to convey the chemistry between the three leads and the action-packed humor of the story.
Later that month the movie was part of Netflix’s TUDUM virtual fan event, where an extended clip of the fight between the three main characters in a museum display room was released.
A substantial profile of Johnson touched on all the usual topics, from his early days in wrestling to his political ambitions to his daily training routine and so on.
Posters started coming out in mid- to late-October. Those included a theatrical one-sheet showing all three leads who are labeled “Pros and Cons” as well as character posters for Hartley, Black and Booth. Those character posters came out to count down the last three weeks before the movie’s release.
The second trailer came out at that time also, opening with the scene of Hartley recruiting Booth to try and find Black. That plan is complicated when Black frames Hartley for a crime he didn’t commit, meaning he and Booth now need to work together to both bring her in and clear his name. That’s all in service of what’s really being sold here, which is Reynolds and Johnson quipping at each other while Gadot looks lovely and dangerous and outsmarts both of them time and again.
Netflix put out one of their “watch this before…” videos that explains the story and characters while also offering some other recommendations on what to watch with the three stars.
The movie’s red carpet premiere, held earlier this month, was livestreamed, with the stars and others in attendance. At that event they boasted of the size of the premiere while also talking about how much fun they had making the movie, how they hope the audience enjoys it and more.
Of course because they both star in their own DC super hero franchises, a joint interview with Gadot and Johnson included asking them how those characters would have acted in the events of this film. Those two also appeared together on “Kimmel”.
An interview with Thurber had him talking about both the process of working with the cast and the technical aspects of production, including how he and others kept many of the effects practical instead of adding them later.
Just before the movie came to Netflix Johnson announced a new promotion where he would choose Tweets people shared about someone who’s done you wrong and put them on the Times Square digital billboard promoting the film. Netflix boosted that message with a paid promoted trend on Twitter.
If you’re a fan of the three leads, you’ll likely be on board with this campaign.
If you’re a fan of big, silly action comedies, you’ll likely be on board with this campaign.
If you’re a fan of movies that are going to be completely enjoyable even if you only three-quarters watch them while doing other things, you’ll likely be on board with this campaign.
Basically there’s a lot of good stuff here but none of it should be mistaken for fine art. This is a popcorn flick meant to be enjoyed for what it is, not what it could be or what other movies have been.
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.
Picking Up The Spare
Gadot appeared in a quick video recapping and setting up the movie’s story. She was also interviewed about this movie and state of the industry.
Another DC post covered the process of bringing the film to life.
Connie Nelson was interviewed about the new film and more. There were also additional features and interviews about how the filmmakers customized Cheetah for Wiig, what prompted Wiig to take the role, Pascal’s approach to this film as well as his history with Wonder Woman and more.
More on how Gadot and Wiig bonded was covered in a joint video interview with the two.
The film’s costume designer explained how she created the film’s 1980’s fashion aesthetic.
Justice League hits theaters this weekend, the seeming crowning moment of the DC Cinematic Universe, or whatever we’re calling it. It comes four years after Man of Steel launched the new continuity, though that debut wasn’t without its critics. Shockingly, it was a full three years before the story continued in Batman v Superman: Dawn of Justice, which made it clear that someone didn’t know what to do with Superman on his own and needed to get Batman into the story as soon as possible. The mediocre reception continued in Suicide Squad but then things turned around when Wonder Woman finally got a solo film, showing offering audiences a bright attitude and an alternative to the brooding male stereotype could turn things around on a number of fronts.
Now there’s a whole team of heroes that have been assembled by Wonder Woman/Diana Prince (Gal Gadot) and Batman/Bruce Wayne (Ben Affleck) to fight a growing menace to our planet. With Superman (Henry Cavill) out of the picture (sure), they recruit the Atlantean Aquaman (Jason Momoa), the speedster The Flash (Ezra Miller) and the high school student/machine Cyborg (Ray Fisher). These cast of disparate characters will need to learn to work together if they’re going to stop the forces of Steppenwolf (Ciarán Hinds) from laying waste to the earth.
The first teaser tells us to “Unite” as it shows the logo with a bright beam of light bursting out of the middle of it. There’s not much that’s being conveyed here, it’s just about building or reinforcing awareness.
After that there was a series of character posters that featured each of the five heroes standing on a rocky outcropping and posing for the camera. The same JL logo appears in the background of each and it all culminated in a single poster that brought all five of them together and includes the “Unite” call to action as well. Still missing is Superman, which is notable.
All five of the heroes came together on a poster that shows them all in profile, facing some unseen, off-camera threat. “Unite the league” is the copy that’s laid over the image in big, bold type.
A poster was given away to attendees at San Diego Comic-Con and released online that assembled the team (still sans Superman) around the copy “You can’t save the world alone.” That copy featured the icons and symbols of each character, including Superman. It’s lit and arranged to give the impression, at least among comics fans, that it’s the artwork of Alex Ross with his hyper-realistic style. Upon closer impression, though, it seems just to be photographs of the cast. Either way, it’s a striking image.
Another series of character posters put each hero in profile against a solid background, their unique symbol interlaced with the team logo at the bottom.
More featured the character in action. All the symbols for each hero appeared in a row at the top, with the relevant one highlighted. Notably, Superman’s symbol *is* shown here but he didn’t get a poster of his own. Some of these better than others and a couple are just ridiculous. Each featured the copy “All in,” presumably conveying their commitment to the team and its cause.
Another series had each character’s face half-covered by the mask they wear.
I’m not sure what the art department was thinking with the next poster, which brings all five heroes together in action poses centered around the title treatment. The photos used show no sense of motion or energy. This looks more like the kind of awkward imagery that would be used for licensed product signage than a one-sheet for a tentpole release from a major studio.
A couple posters were created specifically to be given away to customers buying tickets through Fandango, select IMAX screenings and so on.
The first look at the movie came at San Diego Comic-Con 2016, when WB released a pseudo-trailer that centered around Bruce Wayne’s quest to assemble a team to fight the coming evil. The biggest part of that is recruiting Arthur Curry/Aquaman, for which purpose he travels to a small fishing village where he frequently pops up. Curry’s not hugely on board, but the same can’t be said for Barry Allen, who accepts Wayne’s invitation almost before he actually makes it. Wayne is working with Diana to build the team and we see some of the interplay between the two of them. Also coming along is Vic Stone, who we see both before and after his transformation into Cyborg.
It’s actually a pretty great trailer and seems to address one of the big complaints about Batman v Superman, which is that it was so super-serious. This one, in contrast, is full of humor and little jokes and funny moments. It doesn’t seem WB and Snyder are going full-on Joss Whedon’s Avengers here but it does play much more light-hearted than what has come before, showing the team dynamic may be a little more spirited than in BvS.
The first “official” trailer starts off with Wayne wandering through the frozen tundra on his trip to recruit Aquaman. After that we meet Cyborg and Flash as they’re pulled into the team alongside Batman and Wonder Woman. Aside from the team building shots, there are quite a few scenes of them fighting parademons in various ways, either hand-to-hand or, if you’re Batman, in the Batmobile or other machines. Along the way we get glimpses at Barry Allen’s imprisoned father, Mera swimming through the sea and, at the end, Commissioner Gordon giving Batman some encouragement.
This one is alright but it looks sooooo dark. There’s no light in the trailer, either from an actual lighting or from a tonality point of view. Sure, there are a couple jokes or funny lines here and there but overall this looks just as humorless and slightly depressing as Batman v Superman, where the tone was one of the major points of pushback from critics and audiences alike. But when you have Zack Snyder at the helm, you’re going to get a Zack Snyder movie.
A year after the first footage WB once again released a new “sneak peek” trailer at Comic-Con that opens with a scene of Wonder Woman handling a terrorist incident easily. That’s not surprising given this is the first big asset following her solo movie’s massive success. Diana and Bruce discuss the need for heroes to rise once again before we see Steppenwolf arrive on Themysciria. He narrates that there are no protectors on Earth, specifically no Kryptonians and “No Lanterns,” a nice nod to the existence of that intergalactic police force. The heroes do join forces, though, to take on the bad guy and his army and we’re shown lots of cool shots of Cyborg taking over the Batmobile, Aquaman knocking a parademon out of the sky and lots of things exploding. It all ends with Alfred meeting someone he’d been told to expect while all we see is the red shoulder of the visitor, a heavy hint that it’s Superman finally showing up.
I like this trailer a lot as it shows more of the team dynamic than earlier spots have. It’s still all very attitude-heavy, with lots of glowering and brooding, but let’s also note that it’s Wonder Woman who’s providing a lot of the inspirational uplift for the other heroes. And, again, the Amazons get quite a bit of screen time to take advantage of their popularity with audiences. Basically, the character types each hero will play to are shown clearly here, as well as how they integrate together.
The final “Heroes” trailer lives up to its name by including a slowed down version of David Bowie’s song of the same name. It opens with a scene of Lois greeting Clark in the cornfield, but we see that’s likely just a dream. Superman is dead, we hear via a news broadcast, and the world is having problems. Bruce talks about the threats that are coming, which Diana identifies as an invasion. They enlist the help of the other heroes, with Bruce convincing them they’re stronger together. That all is followed by lots of fighting between the Justice League and parademons who are looking to unleash hell on Earth.
Online and Social
The movie’s official website opens with the final trailer and once that’s over or you close it you’re greeted with a version of the painting-like key art of the team. In the upper left are links to the movie’s Facebook, Twitter and Instagram profiles. You can also see it’s “wrapped” in the branding and navigation of DC Comics, bestowing the traffic to the home of the IP and encouraging any casual visitors interested in the movie to check out more of the comics and characters offered. Along the bottom are prompts to get tickets or watch the recent red carpet premiere event.
Moving to the top of the page, the content menu there starts with “Video” which surprisingly just has the same trailer that opened the site. After that, “Unite the League” gives you a couple options to either create your own superhero symbol or create a 360-degree image that you could add your friends to. The results of the first option could be downloaded either as a JPG or an MP4 video but not as a GIF, which seems like an oversight.
“First Look” just has the team image that has been used sporadically throughout the campaign, including on licensed products, and which notably includes Superman among the heroes. That’s followed by a link to “Join the League” to access exclusive material and get early updates on new merchandise.
You can find out more about the “VR Game” that lets you play as Batman as he tests his own abilities as well as those of his new teammates but you’ll need the required equipment to play. After links to get tickets and find release dates, “Partners” finishes off the site with links to the companies helping to promote the film.
A virtual reality experience came in four flavors. The first, accessible via mobile devices, allowed just small snippets of gameplay for each of the main characters. An HTV Vive version at New York Comic-Con provided for enhanced gameplay. Next, a couple IMAX locations in the country had an exclusive version that let you test your superhero abilities and learn to use your powers. Finally, a fully-featured version was available for commercial VR platforms that took players inside the actual superhero experience.
Advertising and Cross-Promotions
TV commercials started running after the release of the final trailer, about a month prior to the movie hitting theaters. Most all took slightly different approaches to selling the same concept, which is that the team has to come together to be more than a team to defend the world. A better look at Mera was offered in another spot that was also used as a promoted post on Twitter.
Promotional partners for the movie included:
AT&T, which created a portal for all its Justice League-themed material, including character profiles featuring cast interviews and explanations of his or her powers and role on the team. Clips and excerpts from those videos were also used in paid ads on Twitter leading the audience back to that portal.
Mercedes, which launched a campaign involving TV, outdoor, online and print advertising to promote the movie as well as its new AMG Vision Gran Turismo, which is featured in the movie. The TV spots positioned the car as the perfect mode of transportation, even for heroes who can fly, run and more. There was also a co-branded digital comic that was created and promoted across social channels by the car company.
Hot Topic, which created a line of clothing and apparel based on the characters and heroes of the movie.
Google, which added “bots” based on the five heroes in the movie to Android Pay, allowing users to unlock and collect them.
Gillette, which sponsored the above-mentioned VR game and created movie-branded packaging (conspicuously omitting Wonder Woman) that was supported by a TV campaign. It also ran something called the “League of Influencers” involving social media celebrities, but there was no information that could be found about that campaign.
Dave & Buster’s, which offered a special Justice League Platter along with an exclusive Injustice arcade game, supporting those efforts with a TV advertising campaign and presumably in-store signage.
Kendrick Motorsports, which, in conjunction with Great Clips, had Kasey Kahne and Dale Earnhardt Jr. driving movie-themed cars at the Texas Motor Speedway. This is just the latest partnership between WB/DC and Hendrick.
Orville Redenbacher’s, which offered a variety of actives and promotions, including an AR selfie tool and more.
Warner Bros. worked with IMAX on a virtual reality experience that would be available at theaters around the country. An augmented reality game was launched wherein Walmart shoppers could take pictures of themselves alongside characters from the movie when they found in-store displays and also play a game involving the Flying Fox, the team’s transport.
Both WB and DC ran social media ads on Twitter and Facebook that either included the trailers as they were released or encouraged people to visit the movie’s official website and “Join the League” for access to exclusive content and merchandise. Licensed product partner Mattel created a nifty version of the trailer involving stop-motion animation featuring action figures.
DC Comics took two additional moves to promote the movie, declaring November 18th to be “Justice League Day,” coordinating local events and giveaways and putting movie-themed variant covers on its November comics releases.
Media and Publicity
Outside of casting and other production news, the first big news cycle came as the result of a set visit by various members of the press. That brought lots of cast and crew interviews as well as details about who some actors were playing, who the villain of the story was going to be and the first official logo. It also brought with it plenty of confusion as there seemed to be conflicting stories as to whether there was going to be just one or, as originally announced, two Justice League movies.
Later on there was a new photo featuring Flash, Batman and Wonder Woman released along with some brief comments from Miller who talked about Flash’s role in the group dynamic. Another new photo came in an interview with Snyder about the story and characters. A small feature on Momoa called out his role as Aquaman as being part of the actor’s big breakout push.
Unfortunately some bad news came up back in May, when Snyder announced he was stepping away from the movie due to a family tragedy a couple months prior. WB kept things on track for the release date, though, by bringing in Joss Whedon to handle the rest of the additional filming that was planned as well as post-production. Helping make that a seamless transition was the fact that, as the story reveals, Snyder had already reached out to Whedon to help write additional scenes deemed to be missing from the initial production, so he was already in the Justice League mindset. Eventually that situation led to this movie being the latest to have its reshoot budget and schedule picked apart by the press for signs of trouble and other issues, including how much time and money was being spent digitally removing Cavill’s facial hair. No, I’m not kidding.
Costume displays, as well as consumer products, were shown at the annual Licensing Expo show. Another new still, this one featuring Flash, Batman and Wonder Woman, appeared in EW’s San Diego Comic-Con preview issue. Comic-Con also provided a venue for the studio to show off costumes from the movie as well as a full-size Batmobile.
The future of the movie was thrown into doubt with a story that appeared just the day before Warner Bros.’ big Hall H panel at San Diego Comic-Con. That story reported Affleck’s future as Batman was up in the air for various reasons relating to both the age of the actor, the physical demands of the role and more. It’s something Affleck had to spend no small amount of time rebutting, or at least addressing, saying he was happy to play Batman for as long as WB would let him.
In addition to their presence as part of Warner Bros. Hall H presentation, where the official trailer was shown, the cast showed up to sign autographs at the DC Comics booth on the show floor. It wasn’t all sunshine and roses, though, as the movie’s big San Diego stage was preceded by a story that cast Affleck’s future as Batman in doubt for various reasons. It’s something he wound up addressing and which took up some of the space that would ideally have been used on more positive angles.
EW’s fall movie preview issue showed off the first look at Batman’s big team transport The Flying Fox, which was also the subject of a later LA Times feature. It also had Affleck talking about how the film reflected the work of both directors and that the movie would show DC’s universe was really hitting its stride and more, as well as promising a more traditionally heroic version of The Dark Knight, not the rage-fueled character of BvS.
Later on an Empire Magazine cover story contained more first looks and other stories. More new photos and comments from the actors like this one focusing on Momoa continued to trickle out. There was also the fact that the movie introduced so many characters the general audience may not be completely familiar with.
In the last week or so before release, Affleck made the media rounds to talk about what both Snyder and Whedon brought to the project, his early near-brush with the world of Batman and more. Gadot also did her share, though in light of the conversations currently dominating Hollywood many of those appearances turned to her thoughts on sexual harassment. The rest of the cast put in the miles and time as well.
The theme of sexism, in general, came back up in a big way when Melissa Silverstein, among others, noticed the drastic difference in the warrior garb donned by the Amazons in this movie compared to what they wore in Wonder Woman. The addition of more bare mid-riffs and other exposed skin was quickly called out as being indicative of how women view women and how men view women.
More late-breaking controversy when, despite the fact that reviews had been posted already, it was announced the movie’s Rotten Tomatoes score would not be revealed until the day before it hit theaters. While that news was couched as being an incentive for people to tune into the first episode of the site’s new Facebook Live show, it raised the spectre of corporate control over information. That wasn’t a huge leap given how studios have stepped up their fight against Rotten Tomatoes, saying it’s poisoning fans against certain movies. Oh, and it’s owned by Warner Bros. So…yeah.
I’m hard-pressed to think of a campaign in recent memory that’s had so many unexpected twists and turns to it. To name a few:
Snyder’s replacement by Whedon for the final phases of production. While it’s understandable, it’s also very odd and unusual.
The continuing will he/won’t he conversations about Affleck’s future as Batman, a situation that’s changed with each new publicity cycle.
The impact Wonder Woman’s success had, which likely resulted in her becoming a much bigger part of a campaign that started well before that movie was released.
All that has made is kind of hard for the campaign, particularly the publicity element, to remain focused and on track. While Fisher, Miller and Momoa have kept up the theme of just having a good time and living the dream playing superheroes for a living, Affleck’s attempts at that same tone have come off as stilted and been undermined by the ever-changing narrative about his future. And let’s be honest, there hasn’t been a whole lot of Gadot here, which is surprising. So it’s been hard, at least from an outside observer’s point of view, for the publicity to get its footing for any length of time.
In the marketing components things have been a bit more consistent, but whether or not that’s a good thing is going to be in the eye of the beholder. All the trailers, while they sell different plot points, have been very similar in terms of tone and style, presenting a dark and violent action movie. Yes, there are certainly more laughs on display than in the marketing of BvS, but that’s not a high bar to clear. It seems as if no matter how much the studio may have wanted to change perceptions in the wake of Wonder Woman it was limited by the material available to work with.
In short it looks like another Zack Snyder movie, for good or ill. Lots of heavily-stylized characters and a story that’s only hinted at from time to time lest it take the focus off the special effects and action sequences.
It also can’t go without saying that the inconsistent approach to Superman’s presence in the story is somewhat laughable and almost amateurish. 95% of the official marketing materials keep him off-camera, but then he’s just standing there like it’s no big deal in the other 5%, as well as in all the imagery for the licensed products on store shelves. Adding to the disconnect is that the character’s absence is only mentioned once or twice in the campaign, so it’s not as if him being gone is clearly what’s motivated Batman and the others to rise up and join together. If you’re going to hide a character from the marketing, do so for a reason.
I can’t say I don’t like the campaign. I’m still a comics nerd, after all. But there are some real issues that weren’t addressed at all or, if they were, only made the message to the audience that much more muddled and somewhat confusing.
PICKING UP THE SPARE
Henry Cavill says what everyone else was thinking last year, that it was a ridiculous conceit to hide Superman in the movie’s marketing since not only was he on the publicity tour but *of course* the character was going to come back. Plus, he was on like 22% of the marketing materials anyway, especially the cross-promotional stuff.