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      in Movies

      Movie Trailers Have Gotten Worse. Why Aren’t Studios Having Fun With Them?

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      Promos give away too much or too little or are misleading or don’t leave anything out. We could go on. But there are ways to fix them.I know the trailer for David Fincher’s 2010 drama, “The Social Network,” by heart.We hear the soft sounds of a children’s choir singing Radiohead’s “Creep” as a montage of mundane Facebook interactions flashes across the screen. When the voices hit the lyric “you’re so very special,” the camera zooms out of a pixelated image to reveal the face of Jesse Eisenberg as Mark Zuckerberg. It’s almost a minute in when footage from the actual movie starts to play and Zuckerberg chatters about wanting to get into Harvard final clubs. From there it’s a quick escalation of tension that reaches a peak when Andrew Garfield strides onscreen screaming, “Mark!” That’s when the tagline appears: “You don’t get to 500 million friends without making a few enemies.”Just thinking about it, I get chills. “The Social Network” is a great movie. The “Social Network” trailer is also a great movie. It just happens to be only 2 minutes and 30 seconds long.Movie trailers are, at their most basic level, marketing, of course. But they can also be so much more, little short films unto themselves, defined by excellent editing and the ability to create a feeling of thrilling anticipation. I love a great trailer, yet I can’t help but feel that there’s been a drought recently. And I’m not alone. My social media feeds are flooded with trailer-related complaints. (Currently one of the main targets is the trailer for “Speak No Evil,” which has been charged with showing the entire movie.)With studios scrambling to fill theaters, they seem to be struggling to figure out what kind of trailers will draw audiences. Instead of taking chances, they are making creatively inert spots. There are trailers that give away too much (“Trap”), trailers that are disappointingly generic (“A Quiet Place: Day One”) and trailers that feel tonally off (“Gladiator II”). Mostly, no one is having any fun with them anymore.Throughout Hollywood history, trailers have taken many forms. In the industry’s early days, the appeal to the audience was direct. The trailer for “Citizen Kane” spends about 30 seconds on a shot of a microphone descending while the director and star Orson Welles explains in voice-over that “what follows is supposed to advertise our first motion picture.” We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares199 Views

      in Television

      Howie Cohen, Whose Alka-Seltzer Ads Spawned Catchphrases, Dies at 81

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      A copywriter, he and a partner in 1972 came up with “Try it, you’ll like it” and “I can’t believe I ate that whole thing.” Soon, sales were, well, fizzing.Howie Cohen, an advertising copywriter, often said he was congenitally familiar with indigestion. So perhaps it was only natural that in the 1970s, he, along with an ad agency colleague, would conjure up a catchy slogan that would not only sell more Alka-Seltzer but also become an American pop culture punchline: “I can’t believe I ate the whole thing.”That bedside lament, spoken by the comedian and dialectician Milt Moss — he actually said that thing on camera — vaulted from a 30-second TV commercial to sweatshirts, supermarket windows and even church marquees.It proved even more popular than “Try it, you’ll like it,” the first catchphrase for Alka-Seltzer that Mr. Cohen coined with his business partner, Bob Pasqualina, an art director at the Manhattan agency Wells Rich Greene.Mr. Cohen, who helped popularize products and companies like Petco (“Where the pets go”) and the fast-food chain Jack in the Box (exploding its clown mascot in a TV commercial in announcing a new, more sophisticated menu), died on March 2 at his home in Los Angeles. He was 81.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares199 Views

      in Theater

      Why ‘The Great Gatsby’ and Other Broadway Shows Are Turning to Influencers

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      To reach younger and more diverse audiences, Broadway shows are increasingly looking to Instagram and TikTok creators.On a 91-degree day in June, a group of 20- and 30-somethings in sundresses and Bermuda shorts was navigating a dimly lit cocktail lounge whose air-conditioning was on the fritz.It didn’t matter: Cocktails with names like the Ghost Writer were flowing, and patrons were posing in front of a velvet emerald curtain, holding “Team Daisy” and “Team Gatsby” hand fans emblazoned with the faces of Eva Noblezada and Jeremy Jordan, the stars of the Broadway musical “The Great Gatsby.”Flickering candles adorned tables at the side of the room, where people colored in silhouettes of the character Myrtle Wilson, a social climber in the musical, and filled out trivia sheets with questions like “Is Gatsby in East or West Egg?” Silver gift bags filled with miniature bottles of Champagne and “Old Sport” stickers sat on a table by the door.“We are in the Gatsby era,” said Francis Dominic, 31, a lifestyle and travel influencer, alluding to the Broadway musical and “Gatsby,” another high-profile stage adaptation of the F. Scott Fitzgerald novel that last week ended its run at American Repertory Theater in Cambridge, Mass., and is also aiming for Broadway.Dominic was among about 40 TikTok, Instagram, X and YouTube creators who had gathered at the Rickey lounge inside the Dream Midtown hotel to celebrate the release of the “Great Gatsby” cast album, which would begin streaming the next day.Molly Kavanaugh recorded content for a live stream.Ye Fan for The New York TimesLexy Vagasy, left, and Kavanaugh at the invite-only event for about 60 people.Ye Fan for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares129 Views

      in Music

      Rob Stone, Master Marketer of Hip-Hop, Is Dead at 55

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      A founder of the influential music magazine The Fader, he also bridged the worlds of hip-hop and the Fortune 500 with his innovative marketing agency.Rob Stone, who as a founder of the music magazine The Fader and the brand-strategy firm Cornerstone Agency bridged the sounds of the streets and the corporate suites, giving early exposure to rappers like Kanye West and Drake while brokering lucrative endorsements at a time when corporate America was still resistant to hip-hop, died on June 24 in Mount Kisco, N.Y. He was 55.His longtime professional partner, Jon Cohen, said the cause of his death, in a hospital, was lung cancer.Early in his music business career, first at SBK Records and later at Arista, Mr. Stone was charged with finding exposure and radio airplay for new artists. He began to establish himself as a hip-hop insider, working with performers like the Notorious B.I.G. and Craig Mack, as well as with Sean Combs, whose label, Bad Boy Records, had entered into a joint venture with Arista.Before long Mr. Stone decided to set out on his own, and in 1996 he started Cornerstone with Steve Rifkind, the founder of the hip-hop label Loud Records. Mr. Rifkind left the agency after a year and a half and was replaced by Mr. Cohen, who had also worked at SBK and had been Mr. Stone’s best friend since middle school on Long Island.Mr. Stone and Mr. Cohen went on to create eye-opening campaigns for brands like Sprite, Converse and Johnnie Walker that leveraged their relationships with labels and with new artists, who in the early days were all too sensitive to charges of selling out.Mr. Stone, left, in an undated photo with the musician and producer Pharrell Williams and Jon Cohen, who founded The Fader with Mr. Stone.via Jon CohenWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares129 Views

      in Movies

      Balmain’s New ‘Lion King’ Collection Marks 30th Anniversary of Disney Movie

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      A new Balmain collection pays homage to the Disney film on a milestone anniversary. Plus, a preppy designer makes a comeback.For Olivier Rousteing, the creative director of Balmain, the Parisian luxury house, South Africa is a long way from home. But the country is close to his heart.“My passport is French,” said Mr. Rousteing, 38, on a phone call from Paris. “But my blood is African,” added the designer, who learned relatively late in life that he is of Somalian and Ethiopian descent.The coastal Western Cape region of South Africa provided inspiration for Mr. Rousteing’s latest style collaboration: a Balmain collection developed in partnership with Disney to promote the 30th anniversary of the “The Lion King,” which was released in June 1994.The project was a kind of spiritual homecoming for the designer, as well as the realization of a childhood fantasy. Mr. Rousteing was 9 when he first saw the film. It taught him some valuable lessons. “Take nothing for granted,” he said. “Through your journey there will be obstacles and challenges, but trust in yourself, never give up.”His limited-edition collection, influenced by artisanal African textiles, patterns and silhouettes, was conceived to reflect the movie’s characters and pervading themes. Its ready-to-wear and couture pieces — which include zebra-stripe coats and jackets, a densely fringed raffia dress and a bustier gown patterned with familiar “Lion King” characters — are showcased in a short film shot near Cape Town and featuring models from across Africa.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares189 Views

      in Movies

      ‘Bad Boys’ Ticket Buyers Toss Will Smith a Career Lifeline

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      Mr. Smith’s first wide-release film since he slapped Chris Rock at the Oscars two years ago arrived to a hefty $56 million at the North American box office.Moviegoers sent Will Smith a clear message over the weekend: We forgive you.“Bad Boys: Ride or Die,” the fourth entry in the Sony Pictures franchise — and Mr. Smith’s first wide release since he slapped Chris Rock at the Academy Awards in 2022 — arrived to roughly $56 million in ticket sales in the United States and Canada, according to Sony. That No. 1 result was a career milestone for Mr. Smith: He now has 15 first-place debuts as a leading man on his résumé.“Ride or Die,” which returned Mr. Smith to one of his signature roles, cost an estimated $100 million to make, not including marketing. It received positive reviews, with many critics noting a comedic moment that seemed to refer to Mr. Smith’s behavior at the 2022 Oscars: Mr. Smith is slapped by his co-star, Martin Lawrence, and called a “bad boy.”Ticket buyers gave the R-rated “Ride or Die” an A-minus grade in CinemaScore exit polls. The Rotten Tomatoes audience score stood at 97 percent positive on Saturday.Prerelease surveys that track audience interest had indicated that “Ride or Die” would arrive to about $45 million in North American ticket sales. Sony was hoping for at least $30 million.Mr. Smith’s popularity, as measured by the Q Scores Company, plummeted after his behavior at the 2022 Oscars.Frank Masi/Columbia PicturesHollywood as a whole was unsure what to expect. For a variety of reasons — too few movies, movies that didn’t appeal to wide audiences, changing consumer habits — the summer box office has been in a deep freeze.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares149 Views

      in Television

      Netflix and the N.F.L. Sign a Three-Season Deal

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      Football joins pro wrestling and comedy specials in an expansion of the streaming service’s live offerings, a key step in the company’s overall live TV strategy.Netflix is no longer simply in the “sports-adjacent” business. On Wednesday, the streaming giant announced a three-season deal with the National Football League that will include showing two Christmas Day games on its service this year. It’s the first time Netflix has become partners with a major sports league, and it likely won’t be the last.The move follows Netflix’s increasingly aggressive push into the business of live events. In the past two weeks, “The Roast of Tom Brady” was its most-watched English-language TV show; a quirky six-day John Mulaney talk show went viral as part of the Netflix Is a Joke live comedy festival in Los Angeles; and the stand-up special “Katt Williams: Woke Foke” was viewed 4.3 million times.“Last year, we decided to take a big bet on live — tapping into massive fandoms across comedy, reality TV, sports and more,” Bela Bejaria, Netflix’s chief content officer, said in a statement. “There are no live annual events, sports or otherwise, that compare with the audiences N.F.L. football attracts.”The two Christmas games will pit the Houston Texans against the visiting Baltimore Ravens and the Pittsburgh Steelers against the visiting Kansas City Chiefs (raising the odds for greater viewership with a potential Taylor Swift sighting).The streaming business has matured in the United States, and though Netflix is the dominant service, it still needs to keep growing. With subscriptions relatively maxed out in America, the growth of other revenue streams has become crucial to the company’s success. Advertising is chief among them.At a time when more people are dropping their traditional cable subscriptions, live sports remain catnip for advertisers because they are one place where audiences are guaranteed in real time. That is especially true for the N.F.L., which remains a ratings juggernaut.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 88 Shares179 Views

      in Music

      Taylor Swift’s ‘The Tortured Poets Department’ Arrives

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      The pop superstar’s latest album was preceded by a satellite radio channel, a word game, a return to TikTok and an actual library. For her fans, more is always welcome.Taylor Swift was already the most ubiquitous pop star in the galaxy, her presence dominating the music charts, the concert calendar, the Super Bowl, the Grammys.Then it came time for her to promote a new album.In the days leading up to the release of “The Tortured Poets Department” on Friday, Swift became all but inescapable, online and seemingly everywhere else. Her lyrics were the basis for an Apple Music word game. A Spotify-sponsored, Swift-branded “library installation,” in muted pink and gray, popped up in a shopping complex in Los Angeles. In Chicago, a QR code painted on a brick wall directed fans to another Easter egg on YouTube. Videos on Swift’s social media accounts, showing antique typewriters and globes with pins, were dissected for clues about her music. SiriusXM added a Swift radio station; of course it’s called Channel 13 (Taylor’s Version).About the only thing Swift didn’t do was an interview with a journalist.At this stage in Swift’s career, an album release is more than just a moment to sell music; it’s all but a given that “The Tortured Poets Department” will open with gigantic sales numbers, many of them for “ghost white,” “phantom clear” and other collector-ready vinyl variants. More than that, the album’s arrival is a test of the celebrity-industrial complex overall, with tech platforms and media outlets racing to capture whatever piece of the fan frenzy they can get.Threads, the newish social media platform from Meta, primed Swifties for their idol’s arrival there, and offered fans who shared Swift’s first Threads post a custom badge. Swift stunned the music industry last week by breaking ranks with her record label, Universal, and returning her music to TikTok, which Universal and other industry groups have said pays far too little in royalties. Overnight, TikTok unveiled “The Ultimate Taylor Swift In-App Experience,” offering fans digital goodies like a “Tortured Poets-inspired animation” on their feed.Before the album’s release on Friday, Swift revealed that a music video — for “Fortnight,” the first single, featuring Post Malone — would arrive on Friday at 8 p.m. Eastern time. At 2 a.m., she had another surprise: 15 more songs. “I’d written so much tortured poetry in the past 2 years and wanted to share it all with you,” she wrote in a social media post, bringing “The Anthology” edition of the album to 31 tracks.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More