In his new book The Big Picture, writer Ben Fritz chronicles how, over the last decade, Hollywood has become less … Continue reading Title Branding in An Age of Franchises
A new study, reported by Adweek, breaks down a key difference in the movies being released based on Marvel Comics characters and those from DC: Audiences immediately, when the trailers are released, connect with Marvel characters on an emotional level they just don’t with DC characters. Here’s the key graf:
ZappiStore says the data shows the DC trailers received a positive response from their special effects and explosive action, rather than from their characters. However, fans show a strong affinity toward Marvel’s superheroes and react positively toward its trailers’ humor, driving the higher levels of emotional engagement with its trailers.
What’s interesting about the results of the study is that this sounds so familiar. If you’re at all aware of the history of Marvel Comics, you’ll know that Stan Lee (and plenty of others, including Jack Kirby) set out to create characters that were very different than the heroes published by DC Comics at the time. Those heroes – Superman, Batman, Wonder Woman, Green Lantern, Shazam, Hawkman and others – were seen as being too godlike to be relatable. They were a kind of new Roman Pantheon, great and powerful beings who could do anything, without the kinds of real-world issues and personalities people could easily relate to.
I get why DC Entertainment and Warner Bros. would want to get a solo Deathstroke movie going. I do. He’s … Continue reading Keep Deathstroke. Give Me a Mockingbird Movie
2011’s Thor was fun. Less an origin story than a “how he fulfilled his destiny” story, the mix of comic … Continue reading Thor: Ragnarok – Marketing Recap
Spider-Man is back in theaters in this week’s Spider-Man: Homecoming. After an extended cameo in last year’s Captain America: Civil War, this is Tom Holland’s second outing as the web-slinger and his first in the character’s own movie. Well…kind of his own movie. The corporate cooperation that began with Civil War continues here. Sony, which owns the theatrical rights to Spider-Man, is essentially loaning him out to Marvel Studios, which manages the highly successful Marvel Cinematic Universe. So Sony gets to use the successful platform of that behemoth to help launch their third go-around at Spider-Man, while Marvel gets to incorporate Spidey into their big event movies.
Continuing the story set up in Civil War, Peter Parker is enamored with the tech genius Tony Stark (played again by Robert Downey Jr.). Stark provides him with a high-tech suit to help Parker fight local neighborhood crime as Spider-Man. The stakes get considerably higher when Spidey crosses paths with, and gets on the wrong side of, The Vulture (Michael Keaton). That conflict threatens everything that Peter holds near and dear and could upend the life he leads as a seemingly unremarkable high school student.