How The Disney Marketing Team Revitalized The MCU With ‘WandaVision’, 20 Months After ‘Avengers: Endgame’
EXCLUSIVE: It’s been a long time since we’ve seen anything Marvel, and you can blame that squarely on the pandemic.
As the greater hope for a better 2021 occurs with incoming President Joe Biden looking to deliver 100 million vaccines doses in his first 100 days, fanboys and girls finally can calm down, for as of today, the first streaming series starring MCU characters, Disney+’s WandaVision, finally is seeing the light of day.
“In classic Marvel MCU form, the WandaVision rollout was fully triangulated across the Marvel, Disney and the Disney+ ecosystem with a Social Media Universe SMU of 336.86M across Facebook, Twitter, Instagram and YouTube — with the Marvel SMU at 107.3M, Disney at 92.3M SMU and emerging Disney+ growing at 9.5M SMU. WandaVision social reach is lightyears ahead of most streaming shows with an SMU at 263K,” Hollywood social media analytics firm RelishMix reports.
“The clear social media driver for WandaVision awareness and engagement marketing runs across YouTube with over 119M views, more than doubling from 53M since September 22 and the date announcement. The campaign of over 24 spots, trailers and BTS interviews are fed from the Marvel YouTube channel (14.8M subs) and cross-posted on to Disney+ YouTube (287K subs) and the Disney YouTube (5M subs) — all of which is ripped and reposted across movie, fan and superfan channels with over 120 videos, all with over 100k views and more,” says RelishMix.
‘Wonder Woman 1984’ Continues To Fall With $3M In Third Weekend Amid Pandemic & U.S. Capitol Woes
Even if there wasn’t a pandemic, odds are this would still be a hard weekend at the domestic box office, what with all the distraction that came out of our nation’s Capitol this past week. Television news seems to be filled with enough suspense and cliffhangers with the Capitol Insurrection, versus the big screen, as we all cling to our TV screens at home to witness how President Donald J. Trump will leave office, expectedly with chaos in tow.
Warner Bros.’ Wonder Woman 1984 in its third weekend continued to emulate the legs of a horror movie, down -45% with $3M at 2,218 theaters and a running B.O. of $32.6M.
Social media analytics corp RelishMix says in regards to the sequel’s social media chatter “Incremental mentions about HBOMax and connectivity issues are on Twitter and tapering — and Covid mentions are sprinkled across YouTube, Twitter and on Facebook.”
Title sequence spoiler alert — This week on Instagram, Gal Gadot WW84 and Wonder Woman original herself, Linda Carter, joined forces for a special Gadot hosted, heart-warming talk about their experience of bringing the character to life, the story of their career paths and when they were told that they got the roles in the moment. Stats-wise, Gadot has added and additional 500k fans on her IG account plus 400k on TikTok over the last week.
‘Wonder Woman 1984’ Weekend 2 Box Office Drops -67% As HBO Max Glitches Continue
The first weekend of the year, which at its apex in 2016 grossed $219.5M off the heat of Disney’s Star Wars: The Force Awakens, registered an estimated $13M for the entire weekend. That’s in a continued decimated exhibition marketplace that’s praying to reopen in 2021.
Warner Bros.’ theatrical release of Wonder Woman 1984, which is also available on HBO Max for the next 21 days, grossed $5.5M, -67%, for a running domestic B.O. of $28.5M. From that kind of drop, it sounds like whatever moviegoing public exists out there finally got the message that they can see the movie at a cheaper price for the family at home on HBO Max. Either that or given the B+ CinemaScore on WW1984, word of mouth has stalled the sequel at the box office, and folks have figured out that it’s more economical for them to watch it at home.
Social media analyst RelishMix noticed that the DC sequel’s recent social media chatter ranked a 4.5 out of 10 in its conversation meter.
“Convo before release was exceptional in tracking for the next chapter. But since opening, chatter is wildly mixed, with questions about the exception powers of ‘The Dreamstone’, the re-birth of Chris Pine’s character, to Kristen Wiig’s transformation. Review spots drill deeper about the pace of the storyline, as well as Wonder Woman moments throughout the film. Fans are hoping for a 2021 return to the big screen with popcorn, ASAP,” reports RelishMix.
That said, the social media push for the pic, particularly by star Gal Gadot, has been wonderful. “The social channels for WW84 across Facebook, Twitter, YouTube and Instagram, with the movie official pages (3.9M), the studio (53.8M) and DC channels (8.2M) — the Social Media Universe of Gal Gadot (60.5M) is the strongest driver of engagement since opening. Specifically, activity on the Gadot Instagram over the week has clocked over 8M likes.”
Since Christmas day, the hottest Gadot post took fans behind-the-scenes, which they clearly savor, with 2.7M likes and over 10K comments on image:
Over on TikTok, Gal Gadot and her marketing/glam-squad haven’t missed a beat with continuous posting to extend to another 1.2M fans.
‘Wonder Woman 1984’ Hits $16.7M At Domestic B.O. In Face Of HBO Max Release
WONDER WOMAN 1984: We’ll have to wait and see what success WarnerMedia drums up in regards to Wonder Woman 1984‘s impact on HBO Max subscribers. But from a box office perspective over Christmas, with 60% of the 5,8K theater domestic market closed by COVID-19, the DC sequel posted a record result for the pandemic since theaters reopened in late August, with $16.7M at 2,151 locations. The first Wonder Woman opened to $103.2M over the first weekend in June.
Social media analyst RelishMix says that the Jenkins-directed sequel nabbed a bountiful social media universe of 325.6M before opening because of the cross-promotional triangulation of Warner Bros. Pictures, DC Universe and growing HBO Max digital channels.
“Platform activity on YouTube has a robust 21 owned videos and 90+ reposted videos feeding 177.3M views. On Facebook, fans for the film have grown to 2.4M with 33 videos in the 12 months driving over 14M views. Awareness/reach is indexing strong in relation to Covid trends across digital platforms, activity is exceptional with Gal Gadot cast activation,” reports RelishMix which also spotted that positive convo for the movie was a 10 out of 10 on their index.
Of the notable pushes on social, Warner dropped the sequel’s three-minute opening sequence on Dec. 15, “a bold move of hooking and engaging the audience and drive more early activation of the HBO Max app on OTT devises and smart TV’s” says RelishMix; the clip registering close to 6.5M views.
RelishMix counts that the combined activated social media follower reach of the WW84 cast of Gadot, Pedro Pascal, Connie Nielsen and Robin Wright stands at 62.3M followers, of which Gadot accounts for 94% with 58.7M followers. She has worked a tremendous amount of overtime in promoting the movie on social, and the talk show circuit, i.e. The Tonight Show. Her Instagram video posts are events unto themselves, i.e. her press junket prep drew 4.4M views, her glam prep sung to the Indiana Jones theme did close to 3.2M views, and the silly music video she made with Wiig, which she showed off on The Tonight Show generated 3M, see below:
NEWS OF THE WORLD: RelishMix says that News Of The World‘s social media campaign was propped by Universal Pictures social channels totaling a 42.4M social media universe with 30.5M fans from Facebook and other channels in the 4M range. Materials are being very carefully dropped on YouTube with the trailer at 9.5M views and the interview BTS with Tom Hanks at 2M views. “But when a studio slowly drops materials, we see either cautiousness of a final cut that is struggling — or a sense of confidence that the word-of-mouth impact for the wide release will drive a very strong response,” reads RelishMix. Hanks has kept a low profile on promoting his movies to his 38.5M fans across FB, Twitter and Instagram this year.
PROMISING YOUNG WOMAN: Mulligan is not activated on social media, but a positive word of mouth prevails per RelishMix ever since the pic’s debut at Sundance. That buzz since January “extends over a year from the first trailer drop however the social rollout is platforming out with two trailers on YouTube (7.3M views). Plus, there’s a stack of 15 sound track videos from Maya B, Carmen DeLeon, Charli XCX, Paris Hilton and many more. On Facebook, 17 videos have clocked over 12M views with several strong boosts as fans discuss where the film will stream first,” says RelishMix.
FULL STORY: https://deadline.com/2020/12/wonder-woman-1984-opening-weekend-box-office-hbo-max-christmas-1234661767/
‘Monster Hunter’ Takes In $2.2M Over Poor Pre-Christmas Pandemic Weekend Before ‘Wonder Woman 1984’
More theaters closed heading into this weekend, including the Boston market and parts of Portland, OR, so there wasn’t much money to make at the box office even with a shiny, new major studio movie, Sony/Screen Gems’ Monster Hunter which is fully respecting the theatrical window. Per industry sources, only 2,300 movie theaters are open in U.S./Canada. Talk about hitting the skids. Couple that with the fact that consumer habits pre-Christmas haven’t changed much during the pandemic –meaning they’re occupied doing other holiday activities, i.e. shopping, etc. instead of going to the movies–and we’re left with very lackluster results here with the Paul W.S. Anderson directed Milla Jovovich feature adaptation of the Capcom vidoegame doing $2.2M, which is much lower than everyone was expecting (meaning $4M+). That said, Sony is looking at the long game of the holiday stretch from this Monday until Jan. 3 when it comes to Monster Hunter.
MONSTER HUNTER: Hollywood social media monitor RelishMix noticed that Monster Hunter had a social media universe near 149M before opening weekend with 30M video views across YouTube with 20.3M owned/earned views, plus Facebook (8.4M). “Awareness of the Capcom game network on social media with cross-promotional materials extends to another 2M+ fans with game special trailers and for characters. There’s an integration of the game audience to Twitch, Sony PS4 and Xbox One and on PCs,” says RelishMix. Another boost here is Jovovich promoting to her near 11M social media followers, but again, this is marketing to the faithful, not the non-moviegoers. TV spending will always trump any kind of digital and social media pushes (which only complement campaigns), and as we said earlier, there wasn’t much of a TV push here for Monster Hunter. Overall, social media chatter was mixed. Earlier this month videogame maker Capcom offered two new limited Event Quests on the game Monster Hunter World: Iceborne tied into the movie.
FATALE: Per RelishMix, Fatale on social, has clocked a moderate reach and engagement with a very low 15M across social platforms, with YouTube at 1.1M views for four videos and reposts and over 1.1M views on Facebook with 15 videos across Lionsgate pages and other earned channels before opening weekend. “Owned pages for the film were started, stopped and restarted given moving dates as materials are being posting in advance of the theatrical date this weekend,” reports RelishMix. Ealy and Swank have been actively pushing the thriller to their combined 3.7M followers.
FULL STORY: https://deadline.com/2020/12/monster-hunter-wonder-woman-1984-croods-2-weekend-box-office-1234659802/
Universal Continues To Dominate Paltry Pandemic Post-Thanksgiving B.O. As Town Reels From Warner-HBO Max Windows Bombshell
Universal remains the only major studio pumping out wide releases to those remaining movie theaters which aren’t being smashed down by lockdowns (like in California — God knows when we’ll be able to go to the movies again). This weekend, Universal’s DreamWorks Animated title The Croods: A New Age in weekend 2 continued to see the best numbers in the current COVID-19 America with $4.4M, -55%, crossing $20.3M in its 12th day in release. Uni also released the romantic drama All My Life in 970 locations for a $350K result in 4th place while Focus Features’ had the Luke Greenfield-directed Mexican comedy Half Brothers at 1,369 locations, earning $720K in 2nd place. By those two latter results, it’s clear that Uni invested more in P&A on Croods 2 than those two niche titles. Uni had the top 4 titles this past weekend with Blumhouse’s Freaky in 3rd with $460K, -42%, and a $7.7M total in weekend 4. Overall, with Focus’ Come Play and Let Him Go, Uni had six spots in this past weekend’s top 10 chart.
If there’s one weekend at the box office that studios and exhibitors typically have had no thanks for, it’s the post Thanksgiving period, typically the first weekend in December, when business drops by as much as 50%.
RelishMix noticed overall mixed-to-negative chatter for Half Brothers on social media reporting, “Fans are discussing not only outcome of the road-trip, but on a distribution note, where and when it will stream as windows are sliding erratically, and each of the studios are debating how and when to point fans to the eventual stream when it’s not day/date. Plus, questions about weather the movie is cut as a Spanish Version or combo Spanglish subtitled version. Mixed sentiment leans negative on Facebook and on YouTube with shout-outs to the cool music track in the trailer originating from Jukebox The Ghost. Covid chatter this week is very light and understated.”
All My Life, again, another title no one was yearning to go out of their way and wear a mask for this weekend in droves with a 57% Rotten, B+ CinemaScore, 72% PostTrak, and 51% recommend. Females, natch, showed up at 53%, 61% over 25 and about the same between 18-34. Diversity demos were 54% White, 21% Hispanic, 14% Asian-Other and 11% African American. Southwest was the only notable market for this Marc Meyers directed movie about a couple’s wedding plans which are thrown off course when the groom is diagnosed with liver cancer (who wants to see this in a pandemic or even at Christmas?). RelishMix noticed that even though Universal social channels have a reach of 55.4M, this pic is getting boxed out by Croods 2 and Freaky in its push with only one trailer on YouTube reaching 4.6M views for 26 videos before opening, plus 7.5M views on Facebook. “Decidated social channels for the film are light but could build momentum as the next two weekends of new release are slim,” says RelishMix.
‘The Croods: A New Age’ Opens To $14M+ 5-Day Domestic, $35M+ WW During Pandemic Thanksgiving
Social media monitor RelishMix noticed the results of Uni’s big push for Croods 2 reporting, “Over the last year with the birth of Peacock and the convergence of the DreamWorks family of YouTube channels and the Universal Kids portfolio, the new and improved Peacock Kids on YouTube (8.1M subs) has become an ideal launchpad for family titles. Given the Covid-19 state of the biz, the Social Media Universe campaign intensity for Croods: A New Age sits on par (301.7M norm SMU), with genre norms for Family Animated with 283.5M reach and engagement across Facebook, Twitter, YouTube and Instagram. The greatest reach is driven by the Uni Facebook with 30.5M fans and biggest driver of activity is the well boosted Official Trailer on Peacock YouTube with 45.5M views. Total views on YouTube crossed over to 103.9M on 80+ clips, the EOR viral reposting rate is strong at 21:1 and an additional Facebook video videos are at 47.6M for 35 videos. On TikTok, Croods 2 has 458k followers and 31 nicely viewed videos, as all studios cautiously explore the platform.”
Notable materials on social included Croods 2 stars Leslie Mann, Kelly Marie Tran and Emma Stone participating in a Zoom on the Peacock Kids YouTube channel which targets 8.1M subscribers. The channel is a mash-up of Universal Kids, Dreamworks animation and digital TV channels over the last 7 years. Stone appeared on The Tonight Show revealing how Monica from Friends was her inspiration for voice-acting in Croods. Also Atlanta Hawks hoopster Trea Young stepped in for a Croods 2 spot ‘Get Your Sloth On” which aired on ESPN.
FULL STORY: https://deadline.com/2020/11/the-croods-a-new-age-box-office-opening-day-thanksgiving-1234622326/
‘Freaky’ Leads & Jackie Chan’s ‘Vanguard’ Tries To Throw A Punch
The weekend before Thanksgiving is one of the most lucrative ones on the calendar, last year bringing in $204.9M off the opening of Disney’s Frozen II, which posted November’s fifth-best domestic opening of all-time at $130.3M.
Who would ever think that the domestic box office would sink to such an atrocious level as this weekend? If last weekend brought in $10M for all titles with California theaters and other markets like Illinois open, this weekend is surely the lowest weekend for exhibition since theaters reopened back in September for Tenet, with an estimated $6.5M, a 35% drop.
On digital, there was a Vanguard ad on TikTok promoting Chan’s Nov. 19 fan event (see below). However, RelishMix wasn’t impressed with the moderate result of that, nor the overall campaign’s digital push. “There’s next-to-nothing across digital/social platforms to market this project, other than some behind-the-scenes and cookie cutter featurette materials that have trickled over from the original release in China,” reports the social media analytics corp…the campaign completely lacks strategy and positioning, with one trailer yielding 6.7M on YouTube views for over 25 videos.”
In addition to an Entertainment Weekly web page takeover, there were pre-roll video ads on EW and sister site People. There were ads on Spotify targeting the pic’s older male demo. 30-second spots were also taken on streaming and nationally syndicated radio, in the latter sector hitting such shows as NFL Sunday Night, NCAA Football, Bob & Tom, Free Beer and Hot Wings, and Westwood One’s Rock Reach network of 435 stations.
https://deadline.com/2020/11/freaky-jackie-chan-vanguard-bombs-box-office-weekend-1234620087/
RelishMix noticed that Chan told his 3.6M followers to “wear a mask” on Instagram:
Blumhouse Body Swap Horror Comedy ‘Freaky’ On Its Way To $4M Weekend B.O. Opening
Universal/Blumhouse’s genre body swap comedy Freaky, starring Vince Vaughn, took in $1.45M yesterday, including Thursday night previews ~$200K, on what looks to be a $4M opening at 2,472 theaters.
In terms of the digital push for this $6M production, RelishMix says “Social reach for Freaky, playing Friday the 13th, has made its way up into normal pre COVID-19 ranges, with a 99.2M social media universe. This is boosted by Universal’s social channels totaling 41.4M, including Facebook (30M fans), Twitter (4.3M followers), YouTube main channel for Universal Pictures (3.9M subscribers), Instagram (3.2M followers) and Blumhouse’s social media channels (1.2M — which is very good for a production company).”
Video view activity on YouTube has clocked 47.5M for two owned trailers, plus 11 additional TV spots — and 10.8M views on Facebook for 20 videos, although the viral video reposting rate of 16:1 falls short of normal horror metrics of 27:1.
Heading into the weekend, buzz on social for Freaky was upbeat, per RelishMix, which reports there being “comparisons to body swapping comedy The Hot Chickstarring Rob Schneider and Rachel McAdams and many horror references to Happy Death Day, which was also directed by Freaky‘s Christopher Landon. Snarky yet positive, one person on social media says, ‘I was prepared to hate this trailer…now I definitely want to see this.'”
Freaky star Kathryn Newton is leading the charge on social media in pushing the pic to her 1.4M Instagram followers; Vaughn reportedly doesn’t have any public social media channels:
‘Let Him Go’ Reps First Ever Back-To-Back No. 1 B.O. Opening For Focus Features
RelishMix DOTS TRACKING: It’s not common for a studio specialty label to lead the weekend box office two weeks in a row. But that’s the anomaly of pandemic times, and here we have Focus Features taking No. 1 again after last weekend’s Amblin horror film, Come Play, with the Kevin Costner-Diane Lane crime thriller Let Him Go with $1.47M yesterday (including $150K Thursday previews), on its way to an estimated $4.3M 3-day at 2,454 locations.
RelishMix points out that those young ‘uns on social media were keen to call out that Let Him Go stars Superman’s Earth mother and father. But that’s not how this western was marketed, and with an adult release like this, you’re not going to pull out all the stunts one would on a genre film. Let Him Go‘s entailed a straightforward trailer drop ten weeks ago, plus a behind-the-scenes featurette on Facebook of Lane and Costner discussing their rehearsal process. Costner is pushing the movie to his 2.3M followers on his Twitter, Instagram, and Facebook feeds, where he’s sharing movie materials and reviews.
‘Wonder Woman 1984’: Exhibition Awaiting Another Release Date Change; Shortened Theatrical Window Not In The Cards
Not to send everyone screaming for the exits, but it wouldn’t be out of the question if Warner Bros. moves Wonder Woman 1984 off its Christmas Day global theatrical release.
Interest costs began racking up on the movie during its shoot which commenced in June 2018, and if figured until the end of this year, those figures stand between $8M-$9M per finance sources. Add in $6.4M in TV spot ads that already aired (there haven’t been any since Aug. 25 per the agency), and two online trailer drops (which are never organic eyeball views, all studios pay for the view boost) which is expected to be in the seven-figure spend range. On YouTube, I hear that paid views often go for $250K per a 10 million view yield. RelishMix tells us that studios often shoot for a 1m views an hour during daylight streaming times on YouTube. Just on the Warner Bros. U.S. YouTube channels along, both WW1984 trailers have racked up 56M views.
Focus Features-Amblin Horror Movie ‘Come Play’ Leading Halloween Pandemic Weekend B.O. With $2.5M
RelishMix observes there was a shorted runway for the Come Play trailer (but not as short as Empty Man‘s last week which was strictly one full week of digital promotion) with the first trailer dropped eight weeks ago on Aug. 27. Two studio-owned spots dropped on YouTube yielded 13.7M views with 86% of those views from a studio backed promo on the first trailer. On Facebook, video views for 15 videos were 8.9M with 95% from the first trailer. Focus Features dropped materials on their social media universe of 2M fans seeing moderate engagement with cross promotion on Amblin’s social channels of 3.1M fans.
In regards to social media conversation surrounding Come Play, RelishMix says it’s “super-mixed” with “most horror convo for new micro to mid-budget chatter spinning around whether there’s potential to ‘franchise-out’ to become the next Paranormal Activity, Saw, Insidious or A Quiet Place. Plus, chatter on the quality of scares and how many are seen in the marketing materials. Also, whether this latest horror movie seems to offer more originality versus cliches.”
When it comes to moviegoing during the pandemic, RelishMix noticed on social media that “there’s less convo on pandemic shutdown issues, movie re-dates and the state of exhibition business”. That will come as good news to exhibition, but we’re still not seeing big boosts here at the box office.
‘Honest Thief’ Continues To Lead Lackluster Pandemic Box Office, ‘Empty Man’ Tripped By Holdovers
Entertainment social media analytics corporation RelishMix says, “The campaign on social for 20th’s The Empty Man dropped just one week ago on Oct. 16. Any normal campaign for an indie, one-off high concept or awards contender will obviously drop at least two months out — at the latest.” I understand that a major studio wants to save on P&A with the lights turned off in LA and NYC. However, let’s at least provide some oomph if we’re putting a big screen release out there. Empty Man debuted in 4th this past weekend to $1.265M at 2,027 venues, behind Open Road’s second weekend of reigning Liam Neeson action thriller Honest Thief, which grossed $2.35M, 101 Studio’s The War With Grandpa, which made $1.88M in its third weekend in No. 2, and Warner Bros.’ ninth weekend of Tenet, which made $1.3M at 1,801 locations.
Video views for Empty Man on the 20th Facebook page were low heading into the weekend at 20K, with YouTube lightly boosted views were under 700K. Nothing to scream about. RelishMix observes that there weren’t any notable marketing materials for Empty Man.
The movie, based on the Boom! Studios graphic novel, follows a retired cop who is looking into a group of teens who are disappearing mysteriously from a small Midwestern town. The locals believe it is the work of an urban legend known as The Empty Man. As the retired cop investigates, he discovers a secretive group and their attempts to summon a horrific, mystical entity, and soon his life—and the lives of those close to him—are in grave danger. Pic was directed and adapted by David Prior.
Social Media chatter for Empty Man was largely negative, with the movie being compared to The Bye Bye Man, The Slender Man, The Candyman.
Empty Man stars The Kissing Booth franchise star Joel Courtney, who counts a social media reach across Facebook, Instagram and Twitter of 7.3M, and there’s nothing about Empty Man which can be found on his social media channels. James Badge Dale, the pic’s lead, counts 23K on Instagram and only posted this, below…
FULL STORY: https://deadline.com/2020/10/honest-thief-empty-man-after-we-collided-weekend-box-office-1234602930/
How Jacob Elordi Romance Pic ‘2 Hearts’ Is Staying The Theatrical Course During The Pandemic
EXCLUSIVE: Yes, there have been a number of film distributors — big ones — who’ve cut and run during the pandemic, jettisoning their movies onto PVOD or selling them outright to streamers as domestic exhibition hangs in a fractured state.
Of note in the 2 Hearts campaign was the pic’s social media universe for its trailer which according to RelishMix counts 44.2M YouTube views and another 11.2M on Facebook (86% of all views paid and boosted). Overall, Freestyle counts 60M views for the trailer across all platforms.
Says RelishMix, “A social conversation viral phenomenon that campaigns hope for, is where fans call-out their friends, weeks in advance of a release. We saw an early case in 2015 with Sisters, starring Tina Fey and Amy Poehler, which opened against Star Wars: The Force Awakens as counter programming. Gal-pal fans tagged their friends, it went viral and Sisters opened. Again, 2 Hearts chatted is indexing well as fans are piling on the convo with simple tags of their friends, especially on the heavily boosted Facebook clip with 10.7M views.”
“Over on YouTube, convo swirls around Tiera Skovbye, (‘she plays Polly Cooper on Riverdale‘) who counts over 1.1M followers combined on Instagram and Twitter — as well as Jacob Elordi who’s 10.1M Instagram followers await his activation,” adds RelishMix in their latest report to Deadline.
Elordi appeared on Today yesterday, and also was involved with special callouts which are being sprinkled around on social for press hits. The TV buy for 2 Hearts has been focused on the over 25 segment.
FULL STORY: https://deadline.com/2020/10/jacob-elordi-2-hearts-marketing-box-office-1234598154/
‘War With Grandpa’, ‘Hocus Pocus’ & ‘Coco’ Leaving Footprint With Families At Weekend Box Office
Entertainment social media monitor RelishMix gives a shoutout to the 30-second spot audience exit interviews which are part of the War With Grandpa‘s campaign, another positive nudge to encourage moviegoers to head back.
Also per RelishMIx: YouTube total views for War With Grandpa are just over 9M, boosted by a set of 18 videos on Facebook. Of the pic’s movie stars who are pushing actively on social are Jane Seymour (280K) with selfies from the shoot, Oakes Fegley (108K followers), and Rob Riggle (1.6M).
Says RelishMix, “Not a producer in town could have ever pitched this — but the potential for Grandpa in drive-ins is an obvious solid-fit as a family-fun outing, which is also mentioned in social conversation.”
‘WandaVision’ Trailer Racks Up Massive Traffic In 24 Hours Post-Emmys
EXCLUSIVE: Audiences didn’t watch the Primetime Emmys on Sunday, which sank to a new low of 6.1M viewers, but there was something that kept their eyes glued in the 24 hours following the awards show: the trailer for Disney+/Marvel’s WandaVision.
We hear that the trailer in the 24 hours following its Emmy broadcast netted a massive 53M views online. That is believed to be the highest 24-hour draw online ever for a streaming service’s series ad spot.
“That’s in a league with Avengers and Fast & Furious franchises following a Super Bowl drop in a day,” entertainment social media monitor RelishMix tells Deadline tonight.
Beams RelishMix which spotted an even higher 24-hour figure than the studio’s “Roaring at theatrical social media rates from the Emmy TV broadcast spot drop — WandaVision is seeing video counts across social platforms, in a full 24-hours, exceeding 55.7M views, predominantly on YouTube with over 36.1M views. Reposting of spots and reaction/reviews spots is flying at an earned viral rate of 63:1. Facebook video views are building at 4.9M plus 10.1M views on Instagram, plus TikTok and Twitter. Keep in mind, this growth is attributed to the TV spot from Sunday night, which is even more impressive as the momentum builds on social over the week.”
The key trailer post on the Marvel Entertainment YouTube channel has clocked 9.6M views, fueled by 14.3M subscribers behind it, and cross-posted well on other Disney social channels.
WandaVision smoked the 24-hour social media trailer traffic of this year’s Super Bowl trailers Black Widow (18.7M), Mulan (12.4M) and No Time to Die (10.1M) among others. WandaVision also zapped the 24-hour post Super Bowl traffic of Avengers: Infinity War (30.9M), and the 2017 post Super Bowl traffic of Netflix’s Stranger Things season 2 trailer (28.2M).
FULL STORY:
https://deadline.com/2020/09/wandavision-trailer-traffic-disney-marvel-post-emmys-1234582487/
‘Tenet’ Raises To $200M+ Worldwide With Domestic Near $30M In Marketplace Still Slowed By Pandemic
TENET: Good news for the Christopher Nolan movie which was saddled by a B Cinemascore last weekend, and a PostTrak of 79% overall positive, with a 49% definite recommend: Comscore/Screen Engine PostTrak exits went up to 80% and a 65% definite recommend, the latter a tad higher than Dunkirk at 63%. That’s very good for word out mouth. RelishMix shows social media sentiment largely leaning positive.
Per Relish Mix, Tenet‘s social media universe has grown moderately by 8.9M on YouTube, totaling 245.7M, predominantly on owned trailers. Added to that the movie’s Facebook has added 6.5k new fans, an average of 750 new fans per day tapering down from 1.5k per day while the Tenet Instagram has added 7.9k new followers up to 77.9k and an additional 2k on Twitter up to 52k.
BROKEN HEARTS GALLERY: Per RelishMix, four days before Broken Hearts Gallery‘s theatrical opening, Sony leveraged the executive-producer Selena Gomez’ social Network of 342.5M across Facebook (61M), Twitter (62.5M), YouTube (26M subs), and Instagram (193M) to drop select materials. However, standing out on Gomez’s social network is tricky, as she’s recently launched a streaming cooking show, Selena +Chef on HBO Max, along with her other make-up line projects. This trailer she posted on Instagram six days ago pulled in 7.1M views, while her special message to fans three days below was closer to 19K views.
Gomez said she boarded the project because it was “lighthearted” and “that’s something we need at this time.” In her trailer post, Gomez, wrote, “@brokenheartsgallery finally comes out on Friday! I am excited to produce a film directed and written by a first-time female filmmaker, @nkrinsky. Although you can see this movie in some theaters, remember that COVID-19 is not fake news -so please follow safety guidelines in order to enjoy the movie experience with the lowest risk possible. Oh and here is a special trailer we made featuring my song, ‘Souvenir'”
‘Wonder Woman 1984’: Exhibition Braces For Another Release Date Change During Pandemic Post-‘Tenet’
WarnerMedia Studios and Networks boss Ann Sarnoff told us that in the rewriting of the distribution playbook for Tenet, the studio’s rule was “Don’t spend all your money upfront! Pace yourself, it’s a marathon and not a sprint.” This is different from the studio’s historical habits of spending aggressively during the course of a pic’s opening weekend for the No. 1 win. But how can you spend big when the biggest box office markets aren’t open yet?
RelishMix does mention that Tenet‘s campaign on social was erratic to start, but over the last 90 days built to a 235M social media universe across Facebook, Twitter, Instagram and YouTube views thanks to Warners’ online and digital subsidiary tentacles pushing the movie. Total YouTube views for earned and owned material exceeded 152M, which is strong for an action sci-fi movie, with fans engaging on Facebook at a strong daily rate of 1.5K.
FULL STORY: https://deadline.com/2020/09/wonder-woman-1984-release-date-change-2020-november-christmas-1203019735/
TENET NOTABLES:
Wall Street Journal - Celebrity Pandemic Pivots - Part 2
Quarantine Famous: The New Stars of Fall
From Sarah Cooper to Emmanuel Acho, personalities who broke through during the coronavirus pandemic are our newest celebrities. Here’s what they’re doing this fall.
They walked into a crisis as strangers and came out famous.
The last six months have revealed an unusual mix of celebrities in popular culture, people who might never have broken out otherwise, while at the same time bringing established names to the forefront in surprising new ways.
Social media often is a key to pandemic fame. The irony—that the best way for people to get noticed is to hide out at home doing videos—is not lost on this group.
“They’re very good at building and maintaining audiences,” said Kevin Allocca, head of culture and trends at YouTube. “That’s not a skill we would have associated with major celebrities of 20 years ago, but it’s actually a core skill of being successful right now.”
Many of these celebrities develop their audiences by interacting with their viewers and teaming up with other personalities whose fan bases overlap, often while cross-pollinating their videos on multiple platforms. Included in the ranks of the newly famous are tech-savvy 20-somethings, many of whom pick up editing tricks and make their own videos rather than relying on handlers to do it for them. Their currency is authenticity, or something that at least looks like it.
Standouts everywhere from the internet to the anchor desk are extending their reach. Here, a guide to the new talents and rising stars of lockdown.
Selena Gomez
Age: 28 City: Encino, CA
Big Score: She landed her own TV show during the pandemic.
Like other people, Ms. Gomes has been getting into cooking at home during quarantine. Unlike others, she has cameras following her while she’s doing it. “Selena + Chef” made its debut last moth on HBO Max.
The show speaks to the ways TV is pivoting to create new material during the pandemic. The series gives the already-famous Ms. Gomez a stronger foothold in TV, portraying her in a more personal light and adding to her résumé as a producer (she was behind last year’s “Living Undocumented” on Netflix and other projects).
In the new show, she cooks remotely with culinary stars like Ludo Lefebvre and Bravo “Top Chef” veteran Antonia Lofaso. Ms. Gomez aims for laughs. While working on seafood tostadas with Ms. Lofaso, she cuts the head off a dead octopus and dry heaves. Then she almost plunges her hands into boiling water (“Not with your fingers, Selena, with a stick!” her friend shouts).
She is as relatable as a celebrity cook can be while working in one of the three kitchens of her mansion, a $4.9 million home once belonging to Tom Petty that she purchased this spring. And it’s a good deal for HBO Max, which gets access to Ms. Gomez’s social-media fans—a universe of more than 378 million followers across Facebook, Twitter, Instagram, TikTok and YouTube.
Sarah Cooper
Age: 42 City: New York
Profession: Comedian with a flair for politics
Big score: Netflix special
Thanks to her viral lip impressions of President Trump on platforms including TikTok and Twitter, she is on her way to Netflix with a comedy special. “Sarah Cooper: Everything’s Fine” premieres this fall with an assortment of interviews and sketches. Producers include Ms. Cooper, Maya Rudolph and Natasha Lyonne, who also will direct.
The comedian, who recently guest hosted Jimmy Kimmel Live, is writing a modern, comedic take on a Dale Carnegie book for Audible Originals. She also is co-writing a coming CBS series based on one of her previously published bestselling books, “How to be Successful Without Hurting Men’s Feelings.” Her Trump videos, which propelled her from 52,000 Twitter followers to more than 2 million during the pandemic, have drawn fans including Cher, Chrissy Teigen and Jerry Seinfeld.
In response to a question recently, Mr. Trump said he had not seen Ms. Cooper’s videos and asked whether they were good or bad. A reporter said he might find them entertaining but added that the comedian did not mean them to be positive. The president said, “Well, I’ll have to check it out.”
‘New Mutants’ Secures $7M At Weekend Box Office Where Only 62% Of All Cinemas Are Open
THE NEW MUTANTS: RelishMix reports that the New Mutants social campaign hit the gas hard with a stack of 8 new trailers, spots and BTS videos on Youtube in the last 10 days. The pic’s overall campaign kicked off on July 16 at San Diego Comic-Con @Home with a new 51-second trailer. The panel wound up trending No 3 nationally on Twitter. The cast put together a ‘Meet the Mutants’ in a minute YouTube video which the pic’s social media star Maise Williams posted on Instagram to her 11M followers clocking 755k views; she’s also been pushing the movie to her 2.7M Twitter followers. She also made late-night appearance on Jimmy Fallon and James Corden.
Overall, RelishMix says social media reception for New Mutants was mixed between those being excited to return to theaters, to fanboy cynicism around the portrayal of characters and the pic’s three-year delay.
BILL & TED FACE THE MUSIC: Orion/UAR’s Bill & Ted Face the Music grossed an even amount of money between Friday and Saturday at $400K apiece putting its opening weekend at $1.06M at 1,007 independent circuits. The movie was originally expected to go theatrical only, but the filmmakers opted for a PVOD theatrical release when it was realized the entire domestic marketplace would not be open. No PVOD results yet, but the threequel was No. 1 on iTunes and the franchise bundle was #2. Similar to New Mutants, Bill & Ted 3 put in a virtual appearance at San Diego Comic-Con with Reeves appearing, a plus since he’s not activated on social media. That said, he’s been showing up for Zoom interviews on The Late Show via Berlin where he’s shooting The Matrix 4. RelishMix reports that the second trailer for the threequel clocked 26M views, with the March 2019 announcement of the movie from the Hollywood Bowl earning 2.5M. Alex Winter (roughly 200K followers on social), Samara Weaving (823K followers), Brigette Lundy-Paine (1.3M), and Kristen Schaal (1.1M followers) have been pushing Bill & Ted 3 on social media per RelishMix.
FULL STORY: https://deadline.com/2020/08/new-mutants-opening-weekend-box-office-coronavirus-1203025795/