As part of remarks made at a recent industry conference, Facebook COO Sheryl Sandberg told anxious advertisers the company was working to not just provide better ad tools but also on ways to tie those ads to physical sales. Twitter’s CEO Jack Dorsey made similar comments, promising better measurement for advertisers.
Facebook announced last year that integrated maps of physical stores into ads and then showed advertisers who acted as a result of those ads. What seems likely is that it and other companies will take this kind of tracking even further. Let’s put two facts together to see how they add up to something even more intrusive.
First, Facebook knows when you’re in a store to enough detail that it can not only show a relevant ad but show an ad that’s relevant to the *section* of the store you’re in at the moment.
Second, Facebook knows when you’ve been exposed to an ad, whether that’s on mobile or desktop.
Put those together and you have the ability to know when someone visited a store after seeing an ad and, with just a little tweaking, can likely tie that to exact purchases and revenue that can be used to…yes…target further ads. This solves the age old question of outdoor, TV and other advertising that lacked direct response, which is whether or not that billboard on I-55 actually lead to a Snickers bar purchase and when that happened.
Imagine the following: You see an ad on Thursday on Facebook (LinkedIn or Twitter or any of their associated audience networks that take ads to other sites) for a sale on jeans at Old Navy. Facebook knows you’ve seen that ad because you had to scroll past it to see your friends’ pictures from Aruba. You don’t take an action then but when you’re out on Saturday you stop into Old Navy and get not only some jeans but also a t-shirt and some socks. The location-tracking Facebook is capable of knows you were there and can report to Old Navy it took three days but you finally acted on that ad. That’s valuable enough.
Now if you provide some details that Old Navy enters into its CMS it has a list of the products you bought and the amount you spent. It wouldn’t take much to tie those details into Facebook’s database and create a comprehensive report showing you spent $67.43 on four items three days after seeing an ad and based on the items you both bought and looked at (remember, Facebook can apparently track you down to the square foot), serve you ads later on offering you more deals at Old Navy.
As ad revenue growth begins to level off at Facebook and ad volume hits the extent of audience patience, expect the ads it serves to be all that more intrusive, which means more tracking. Retargeting online shows that’s already in full swing there, now it’s likely to come to you via your real-world behavior as well.
Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.
Snapchat has introduced Crowd Surf, a new system that uses artificial intelligence to find when many people are sharing video from a concert and assemble also those clips into a single video.
Facebook has redesigned its “trending news” section for mobile reading, making it easier to sort through updates and including related stories from a variety of outlets.
A redesign of the mobile News Feed in general is designed to emphasize visibility into who’s engaging with a post, where a link might take you and more to make the whole process, presumably, a bit more transparent. It also updated a number of features in the Camera app.
A new green dot will show you when someone has been active on Tumblr recently, letting you know who might be available to chat.
Instagram has added comment threading to help keep conversations going more naturally.
LinkedIn has introduced a new native video creation tool for the mobile app that will be rolling out to all users over time.
I’m not going to be switching over to Ghost anytime soon, but it’s great to not only see someone innovating in the blog platform space but also doing so in an open-source manner.
Twitter’s Explore tab will begin showing people topics they may be interested in sorted in a way that’s based on their usage of the platform. That’s an attempt to make valuable, relevant information more prevalent, especially to new users.
Interesting statistics here on why young adult shoppers prefer the experience on a brand’s own website as opposed to that of a retailer.
Could be bad news for Snapchat as influencers identify it as the one they are or are most likely to drop in favor of Instagram and others.
Facebook is selling in-stream spots separate from bundled News Feed buys, something that was apparently high up on the list of requests from agencies.
Facebook’s new tool lets brands directly boost posts from influencers they’ve engaged in branded content campaigns, keeping the original person’s branding on the post. Ad execs, though, worry that this will lead to influencer posts being suppressed in the feed, diminishing reach unless dollars are spent.
Snapchat is the latest platform company to announce it will be moving into providing a home for exclusive scripted video content.
Some early success stories coming out of Facebook Watch, though I have to wonder how much of that comes from these videos being given preferential treatment in the News Feed.
You can now take 360-degree photos and video from within the Facebook app itself.
Publishers in the Medium Partner Program will have the option of making stories available only to members and then be paid based on engagement and reach. That also includes a metered paywall limiting non-members to a set number of “free” posts they can read per month.
As part of its effort to help restore trust in what news is shared on its platform, Facebook will display media brand logos next to stories from that site.
New updates to the Musical.ly app include a section of recommendations based on what you’ve watched and enhanced user profiles.
Email management software is the most common tool used by content marketers, followed by content management systems.
Snapchat will let advertisers control whether their ads appear alongside all content or just that produced by the company itself and its media partners.
You can now edit Anchor’s new videos and share snippets.
Over the holiday weekend news broke that The Wall Street Journal would be shutting down eight blogs dedicated to specific verticals and topics. The newspaper’s editors cited the changing audience and constantly evolving technology that has made the blogs largely redundant.
The key point in the story for me is this: The Twitter accounts created for those verticals will remain, even as the blogs are shattered, though thankfully the blogs will remain up as archives, so all that content isn’t being completely discarded.
Those social media accounts remaining active is the biggest indicator of how the media world has evolved. As with The New York Times and other publications who have condensed their blogs, the focus isn’t on abandoning niche verticals. It’s just that the blogs aren’t always the best way to reach the appropriate and relevant audience in 2017. Running a blog devoted to a specific topic is time-consuming and requires a good deal of commitment. With publishing tools having changed greatly over the last decade, those blogs don’t need to be totally separate from the rest of the site on either the back or front end.
Even more specifically, for the reader, the way to follow niche topics has evolved. In the mid-2000s, when WSJ was launching these blogs, people would subscribe to the RSS feed, other blogs would link to posts as they shared their own perspective on a bit of news and so on. The link economy was thriving, powered by Bloglines, Google Reader, Blogger, WordPress, TypePad and other tools.
Now we’re living in a social media world, the unexpected result of the Web 2.0 revolution that’s less about links and comments and more about RTs, click-throughs, viral sharing on Facebook and other success metrics. Facebook Instant Articles, Flipboard, Medium, Apple News and other tools that take the media consumption out of the hands of the media company that’s produced the content are all angling for domination.
But on social, niches still thrive. You may not want to follow the WSJ’s main account as it’s not relevant or important to you. But the Law Blog’s Twitter is, so you can continue to derive value from it. And the WSJ publishers realize that and will keep it going to share thematically appropriate content to an interested and engaged audience. Social media, not a blog network, is now the most important way for big media to reach people. And that reach often isn’t about scale, it’s about engagement. Email is the same way, as more and more sites offer increasingly thinly-sliced topical newsletters for people to subscribe to.
This is all similar to what I wrote about in 2015 when a string of website closures took a couple great film sites off the internet or at least closed them down. At the time I posited that the Twitter accounts for those sites could remain active, publishing links and commentary that was still in line with the brand identity of those sites and sharing new posts on other sites from its former staff writers and editors. The audience was still there and was obviously interested, so why not find someone willing to keep managing it and keep providing value?
There’s still very much a place for full blogs on niche topics. Blogging allows for all the context that social media doesn’t. But what WSJ – which wasn’t the first major publisher to make this move and certainly won’t be the last – is doing isn’t about devaluing blogs as a format. It’s just an acknowledgment that the same kind of coverage is now possible within the bigger site structure. Also, that the niche audience is receiving their information through different channels and platforms than they were a decade ago. So it’s not about an ending, it’s just about changing to meet the times.
Religious humor is funny, at least if you’re the kind of person who can laugh at themselves to any extent. Seeking to test the boundaries of even that concept is this week’s The Little Hours. Based in part off a section of The Decameron, a 14th-century Italian collection of short stories, the movie stars Aubrey Plaza, Alison Brie, Kate Mucuci and Molly Shannon as nuns in a convenient overseen by a priest played by Fred Armisen.
These aren’t your conventional nuns, though. Not only do they drink, swear, threaten the local farmers and have wanton sex, they…well, there’s no kicker there. They do all that. One day a young man played by Dave Franco seeks shelter in the convent, passing himself off as a deaf mute so as not to draw attention to himself. But his presence in the convent just adds another to a long list of temptations the sisters already can’t resist.
The first poster is pretty on-point thematically. It’s meant to look like a stained-glass window and features an image of Reilly standing over the other characters like he’s a prophet or something, with everyone else dressed in the garb of a convent. It’s not all that funny, but it conveys the basic premise that the story takes place in a religious setting well, so we’ll call it a success.
Another poster took the same approach, framing all the main characters in a halo of heavenly light. This time at least the faces of the actors are more clearly shown. There’s no tagline or copy, just some positive critic’s quotes at the top.
A series of character posters put each one of the major characters within an angelic glow that’s undercut by the often horribly-inappropriate quote from them. These are pretty funny.
Thered-band trailer that really kicked off the marketing starts off serenely enough, right up to the moment a couple nuns tell a passing farmer to fuck off. From there on out the story and characters are presented within the framing device of a priest enumerating the sins of those nuns, which are plentiful and graphic. We see scenes of the the incredibly inappropriate things that happen, which are too plentiful to describe.
I can’t believe I just saw that and I immediately need to watch it.
Agreen-band trailer came later that told pretty much the same story, just without the cursing and overt sexiness. There’s a bit more context about how Brie’s Allesandra wants to get married and not be a nun, but that’s about it in terms of new material.
Online and Social
The pretty simpleofficial website is in keeping with the small scale of the release. Two big buttons in the middle of the page encourage you to either “See the Film,” which takes you down the page to the list of theaters it’s playing at now and a calendar for future expansion, or “Watch Trailer” which offers you the option of the red-band or green-band versions to enjoy.
Scroll down the site and you’ll see a story “Synopsis” that decently recaps the plot of the movie and shares some of the credits. Keep going and there are photos and short bios for the cast. Then there’s the same list of theaters it is or will be playing at, the trailers and a “Gallery” of stills. Up at the top of the page there are also links to the movie’sFacebook,Twitter andInstagram profiles.
Advertising and Cross-Promotions
The only paid efforts I’ve seen so far are some promoted posts on Twitter and Facebook that have used the trailers to drive ticket sales. Not surprising this would be a movie that’s hard to translate into TV spots and may not be big enough to warrant a sizable online or outdoor push.
Media and Publicity
Just before it premiered at Sundance there was a first look still released along with a brief synopsis. More photos followed just a week or so before Sundance, where it was eventually picked up for distribution.
Plaza would bring up the movie and her research for the role in various other interviews about other projects. Of course some of the publicity was pretty off the wall, including a video of Plaza smoking and discussing weedwith a couple of nuns.
Plaza and others involved in production talkedhere about the journey the story took over years of drafting and such as well as how the shoot was largely improvisational and how the Catholic League has (predictably) gone after it.
Baena and Plaza did ajoint interview where they talked more about making the movie and what it was like to adapt something like this and make it this outrageous. Franco also had a fewopportunities to weigh in, especially on the love scene he had to shoot while real-life wife Brie was on-set.
I feel like this campaign is the very definition of “only going to appeal to a select group.” It’s foul-mouthed, borderline blasphemous and completely off the deep end. There’s no attempt to actually adhere to the period the story takes place in, nor is there any to make the main characters anything but wholly unlikable. It’s not a big enough campaign to reach a mass audience and a good portion of the niche it does reach will be actively turned off by some aspect of what’s on display.
On the other hand, it leans into being unlikable and accepts that as its brand identify. It’s actively and aggressively and intentionally unlikable. If you can just focus on the material and humor and not get caught up in thinking too much about it (looking at you, Catholic League), the campaign promises a raunchy good time with some of the best young comedians working today.
Two veterans of “Saturday Night Live” team up in this week’s new release The House. Amy Poehler and Will Ferrell play Kate and Scott Johansen, a married couple who are so proud and excited for their teenage daughter as she’s been accepted to a prestigious college. There’s just one problem: They’ve apparently spent all the money they’d put aside for that education.
Faced with the prospect of telling their baby girl she can’t go to school, they do what anyone would do: Open an underground casino in their house to make up the shortfall in cash. To help with that they enlist Frank (Jason Mantzoukas) and of course things quickly get out of hand. Not helping matters is that a local law enforcement official (Nick Kroll) is on their trail, suspecting something is going on.
The first poster is all about selling the audience on a couple of amiable comedy stars that they’re likely to enjoy. So Ferrell and Poehler are seen fully decked-out in their Vegas-like duds, the lights of their makeshift casino win the background. “If you can’t beat the house, be…The House” we’re told in copy that leads into the title. There’s nothing necessarily wrong with it as it clearly conveys the value proposition of the movie, it’s just that it’s blandly boring in the same way the posters for many recent comedies have been.
Character posters for both of the stars showed them at the height of their new gaudy lifestyle, with quotes that are pulled from footage we’ve already seen in the trailers. Another series of two posters took a similar approach.
The first trailer lays out the premise, which is that Kate and Scott have somehow lost their daughter’s college fund. Not wanting to disappoint her, they resolve to come up with a way to pay for her dream school. Enter Frank, who convinces them to open a casino in their house. Things of course escalate as they become more adept at operating the illicit operation, getting deeper into the personas they’ve adopted to do so.
It’s pretty funny and it looks like, unlike his last few roles, Ferrell is actually trying here. Poehler is always great and it’s clear she’s given just as much material to chew on as Ferrell, which is nice. And the presence of Mantzoukas is always a welcome one. Sure, it looks like a series of variations on the same note and it’s not clear how the daughter could continue to live in a house with all this going on and remain clueless, but let’s just assume that gets cleared up in the full movie.
Anothertrailer, a red-band version, hits most of the same story beats about the parents not being able to afford college and turning to an illegal casino operation to make money. It ends with an extended, graphic version of the “cutting the guy’s finger off” scene we’ve seen previously.
Online and Social
You get a recreation of the key art when you load theofficial website, with the addition of Mantzoukas. There’s a big button to click to buy tickets in the middle of the page and links toFacebook,Twitter andInstagram profiles in the upper right corner.
Scroll down the page – or use the content menu at the top – and the first thing you’ll see is a surprisingly well-stocked “Gallery” with about two dozen stills. The “Story” is light on the actual story synopsis but heavy on mentioning all the producers and other technical personnel.
“Trailer” opens a pop-up window that plays the all-ages trailer. Next – and finally – there’s the “Pit Boss Name” generator that, from all appearances, takes your name and spits out some random combination of gambling-related words.
Advertising and Cross-Promotions
Outdoor ads used images of Ferrell and Poehler rolling in the cash from their illicit enterprise, just using the familiarity with the stars as the main selling point without any information or context of the story.
Both Poehler and Ferrell appeared in acommercial for “SportsCenter” with Kenny Mayne to offer the host some ideas on new catchphrases.
Media and Publicity
Just before the first trailer dropped EW shared a first look photo from the movie alongside some comments from Poehler and others. Another new photo came in EW’s summer movie preview. Yet another was featured along with an interview with Ferrell where he talks about both the comedy and genuine emotion of the story.
A little viral video hosted by Frank (Jason Mantzoukas) showed us around the underground casino he operates and resulted in a nice little press pop.
Both stars made the talk show rounds, engaging in the usual hijinks with late night hosts, many of whom the two stars had worked with on “SNL” and more. That included Ferrell appearing in tiger face paint as if he’d just left a child’s birthday party, Poehler recreating old routines with Seth Meyers and so on. There was also a bigprofile of Ferrell where he talked about politics, old sketches and more, including this new movie.
You’d be forgiven for feeling like you’ve seen this movie already. Will Ferrell acts slightly stupid and shouts about how he loves something so much. Amy Poehler acts stoic and responsible until she lets her wild side loose. Jason Mantzoukous is a vaguely shifty and sleazy bro who will definitely get other characters into trouble. It’s not selling anything new.
That’s probably the point, though. The campaign seems to *want* to feel as generic and unmemorable as possible. Not that it’s not trying to be funny or bring in ticket buyers, but it’s trading on the well-known personality types of its three leads, offering the audience exactly what they would expect. That even extends to the title, which tells you nothing about the movie or the story but is just a label slapped on the box. There are a few genuine laughs here, but for the most part it’s not making a case for anything intriguing.
Director Edgar Wright is back, bringing his unique cinematic storytelling sensibilities to this week’s new release Baby Driver. Far from his collaborations with Simon Pegg and Nick Frost, this new movie isn’t a genre satire but instead a crime thriller with musical sensibilities. The story follows Baby (Ansel Elgort), a savant behind the wheel of a car who uses music to compensate for an incessant buzzing in his ears. Baby is in hock to Doc (Kevin Spacey), a crime boss who uses Baby as a getaway driver for his heists.
Baby is tired of the life and wants to get out. That desire only increases when he meets Debora (Lily James), a beautiful young waitress who he immediately falls in love with, and vice versa. Those plans to escape a life of aiding and abetting crime are hampered by Doc’s insistence Baby help him out with one more score. But as the plans come together it looks more and more doomed to fail and Baby must decide when and how to make his stand and make his own getaway with Debora.
“All you need is one killer track” we’re told on the first poster. Along with the title and the cast list the main element on the poster is a car that’s tearing away as if it’s being shot out of a gun. It’s simple but it’s great, a very artistic effort that thankfully just doesn’t show the big heads of the cast.
The artistic direction of the poster campaign continued on the second one-sheet. This one is more focused on the entire cast, with images of all the major players arrayed here. The fact that this looks painted, though, in conjunction with the bright pink background and the action shot of the car on the highway at the bottom makes it much more interesting than the usual collage of photos you see. It looks like the cover to a comics trade paperback collection. The same copy point from the first poster is used here as well.
Each character gets their own poster in a cool-looking series that features a pop-art looking background and a key quote from them. These are a very cool way to show off all the big names individually while maintaining the movie’s overall brand identity of snazzy visuals.
We meet Baby as thetrailer starts. He’s flirting with a diner waitress who’s interested in his job and he’s a bit evasive. He tells her he’s a driver but we see he actually means a getaway driver for some very unsavory people. Then we find out via some exposition why Baby is always sporting earphones and listening to music. He’s warned by various bad guys about the danger of forming any connections but also see that he can’t extricate himself from the violent criminal life he’s in the middle of.
It’s insane, the movie that’s presented here. It looks fast and funny and bright and just great. It’s not the kind of thing we might normally expect from Wright, but that’s alright since he’s made a career of defying expectations. There’s just a lot of fun stuff going on here as the characters and situations are all introduced.
The second trailer is even more focused on style and attitude, working to present the movie as the coolest cinematic choice out there. It heavily features the positive reviews it’s already received from early screenings and has the great soundtrack that’s been assembled at its core. There’s minimal story here, just vibe.
Online and Social
The movie’sofficial website plays the “TeKillYeh” trailer when you load it up, so settle in and watch it again as you like. Close that and you get a full-screen version of the key art of the car being shot from the gun. A big prompt to “Get Tickets” is toward the middle of the page by the title and links to theTwitter,Facebook andInstagram profiles sit in the upper right corner.
Opening up the drop-down menu in the upper-left, the first link there is to “Trailer” which plays the same trailer that opened the site. After that is “About” which has a brief story synopsis.
You can see the talent that made the movie in the “Cast & Crew” section, but there aren’t any bios or links to dive in any deeper. “Partners” has the information on the few companies who signed up to help with promotion. Finally there’s a prompt to “Get Exclusive Content” that takes you to an email registration form.
Advertising and Cross-Promotions
TV spots likethis one boiled down the story to its core elements of Baby being an extremely-talented driver who may not be on the right side of the law. There’s a bit about the romance with Deborah and it makes it clear the movie is powered by some great tunes.
When it came to promotional partners, the movie signed up:
New Era Cap, but details on that promotion weren’t readily apparent.
Subaru, which is using the movie to promote itsWRX model.
Urban Outfitters, whichoffered an exclusive t-shirt and vinyl version of the soundtrack.
Online ads used some version of the key art and the trailers were heavily used for social media ads that drove views and interest in ticket sales.
Media and Publicity
While there was no lack of buzz for the movie (as is expected for Wright’s features), the first official look came in EW’s 2017 preview issue along with an interview with the director. It was later announced as one of the movies that would screen at SXSW Film, a screening that went very well.
The clear sense of unique style on display in the first trailer and posters lead to abevy of fan art from designers and other creatives who were inspired by it, leading to some nice organic word-of-mouth for a movie that isn’t a big franchise release.
There was aprofile of Eiza Gonzalez, who plays one of the criminals in Doc’s crew, that talks about her career in telenovelas and other shows to date as well as how she got the role in this movie. Wright also talked about how it had been20 years since he came up with the idea for the movie, which came to him while listening to music unsurprisingly.
Elgort of course did a bit of press, talking about how he got into the movie, his career and fame level so far, what he’d like to do next and more. And of course given the movie’s focus on music the cast was asked for their guilty pleasure songs.
That’s just a small part of the press push, though, as Wright and Elgort in particular lead up the effort to go talk about the movie, its inspirations, its music, their careers so far and related topics. Jamie Foxx, Jon Hamm, Spacey and other members of the cast also got involved to varying degrees to play up their involvement, talk about working with Wright and so on.
There are a couple things going on with this campaign.
First, the formal marketing is almost solely focused around the music. Even when the story is being laid out or emphasized, the angle is on how that story is supported by the music that’s included on the soundtrack. Posts on social media have come with the look and feel of mixtapes and cassette singles and, as I wrote about a few weeks ago, one of the final trailers is more interested in the music than it is anything else about what might appeal to moviegoers. That angle was also heavily used in the press push.
Second, there’s the appeal of Edgar Wright himself. He has a great reputation among film geeks with his Cornetto Trilogy and Scott Pilgrim vs. The World, in addition to his fabled work on and then firing from Ant Man a few years ago, something that came back up in the last bit of press interviews. His name isn’t plastered over everything, but it’s noticeable enough that if you’re prone to give his movies extra consideration, you’ll catch it.
All that adds up to what’s being sold as just a fun time at the movies. The whole campaign has that fast and loose attitude, much like the driving that’s on display. You’ll tap your toes and watch intently, just like if you’re cruising down the highway with the windows open and your own personal soundtrack blaring from your car speakers. To finish up the metaphor, the marketing hits the gas and keeps going, showing enough of the characters to make you care about their fate but also selling more legit car action than any three Fast / Furious movies combined.
Universal and Illumination are back for another go around with Despicable Me 3, the second sequel in the surprisingly successful franchise that also spun-off Minions a couple years ago. As we saw by the end of the last movie Gru (voiced by Steve Carell) is now working for the good guys, having given up his life of villainy to be a better example to Margo, Edith and Agnes, the three girls he adopted in the first movie. In that fight he’s joined by his girlfriend Lucy (voiced by Kristen Wiig).
This time out though there are problems. After letting an 80s-themed villain slip past him he’s fired by the secret organization he’s been working for. That sets the stage for him to be reunited with Dru (also Carell), the long-lost twin brother he didn’t know he had. Dru wants Gru to embrace what turns out to be the family business of being a bad guy, but Gru isn’t sure which way he wants to go.
Lots of white-space on the teaser poster, with Gru just popping his head up through a manhole cover and the promise of a summer release date here. It’s just about telling fans it’s coming. The next poster explains that we’re going to meet Gru’s identical twin brother and shows Gru does not appear to be thrilled by this.
A series of character posters showed the Minions clad in prison overalls and sporting various (adorable) tattoos that were, it seems, designed to show how tough and still evil they are.
The firsttrailer is primarily concerned with establishing the new villain for this movie, in this case a shoulder-pad-sporting bad guy who’s still obsessed with the 1980s. Balthazar Bratt is taking over a cargo ship, but Lucy and Gru are on the case and trying to stop him. That doesn’t go according to lan, of course, and Bratt fights with a keytar and more. Oddly, it’s not until the very end when we see the Minions pop up.
Yeah, it’s not bad. It’s certainly another Despicable Me movie. Gru, it seems, is now a full-on good guy, though he’s still a bit anti-social. Other than that it’s funny enough introducing a new villain with a schtick. And maybe the studio heard the comments about the Minions being a tad overdone in their solo movie by minimizing their role in this trailer.
The nexttrailer shows Gru being fired after failing to stop Bratt’s heist. That means he’s out of work and doesn’t take well to unemployment. Someone comes to find him on behalf of his twin brother, who Gru runs off to meet, only to find he’s a super-rich guy with lots of great hair. Dru wants Gru to give into his criminal heritage and help him pull off one last crime. The partnership is not without its speed bumps though, but the minions are certainly on board with more villainy.
Yeah, OK. It’s funny in its own way and explains more of the plot. The Minions are still being somewhat downplayed here, lending credence to the idea that Universal is holding them back a bit.
The finaltrailer starts out by explaining how it is Gru doesn’t know he has a twin brother, who when they reunite tries to lure him back into a world of crime. Nothing new or different here, just some scenes we haven’t seen before and a bit more of the Minions but otherwise it’s more of the same thematically.
Online and Social
You get full-screen video pulled from the trailer when you load up theofficial website. On the front page there’s a big prompt to buy tickets as well as a rotating carousel of features ranging from “Watch the Trailer” to “Pre-Order the Soundtrack” to “Create Your GIF,” which takes you to another site where you find a clip from one of the trailers and edit it into a GIF to be shared on social media. There are also links to the movie’sFacebook,Twitter andInstagram. Finally, there’s a “Partners” link at the bottom that takes you to more information on the partner companies the studio enlisted.
If you go to the drop-down menu at the left the first section is “About,” which has a decent write-up of the story. “Characters,” which is also labeled on the front page as “Meet the Good/Bad Guys,” has a small bio of the main characters, including the Minions. There are about seven stills in the “Gallery.” Finally “Videos” has the latest Pharrell Williams song along with trailers.
The movie as also one of thelaunch partners for Facebook’s new camera masks, which allow users to add some movie-themed element to their photos in the same way Snapchat filters work.
Advertising and Cross-Promotions
The paid campaign kicked off with TV spots that showed Gru celebrating his return to villainy while working with his twin brother. That’s a slightly different tack than was taken in the full trailers and outlines a different story for the audience, one that doesn’t show his reluctance to return to his former life.
Outdoor and online ads used the key art of Gru and Dru along with some Minions, of course.
In terms of promotional partners, there were quite a few, particularly of the food kind.
23andMe, which used the movie’s story of finding family you didn’t know you hadto sell its genetic testing services. This is a bit odd for a kids movie like this.
Bounty, which put moviebranding on some rolls of its paper towels.
Kellogg’s, which put put outcobranded packaging and offered movie-themed treats in select snack boxes.
Chiquita, which put Minions on its banana stickers (which makes sense as those are the characters’ preferred snacks” andoffered a sticker book to collect all of them as part of a challenge to win more prizes.
Yummy Spoonfuls, which ran acontest to win prizes if you submitted a photo of your “messy eater.”
McDonald’s, which put Minion toys inHappy Meals, though that U.S. promotion is nothing compared to what the fast food chain did inselect Asian cities.
Puffs, but there aren’t any details on what this promotion is.
TicTacs, which ran asweepstakes awarding a trip to Hawaii.
Nutella, which put out co-branded packaging and offered somemovie-themed recipes that let you use the product to create Minion-shaped food.
Zumba, whichcreated official choreography featuring instructor Toni Costa that was available only in Zumba classes.
Media and Publicity
Carell talked about how he approached playing dual characters and how he found the accent for Dru along with the challenge of playing both brothers in an interview that included a first look photo from the movie.
Afirst look at some of the new Minions appearing in this movie also hinted at some story points the trailers haven’t gotten around to, including that the little yellow guys are more than just disappointed Gru isn’t returning to his criminal ways but actively and openly rebelling.
The cast and crew did some media touring, of course, talking about how they felt with returning to the franchise as well as offering thoughts while attending the premiere. There was also a bit of a publicity pop around Zumba’s partnership involving a well-known trainer.
So this is an interesting little case study in marketing a film. It’s the third movie in the franchise, the second sequel to the original, which was a big hit and has become very popular. And it comes after the Minions spinoff, which was successful but not exactly a critical darling. But the Minions have also become a corporate calling card for Illumination, appearing as ambassadors of a sort in the trailers for Sing, The Lorax and other movies from the production studio. So not only have we seen them in the Despicable Me movies but their brand (yes, I said it) has become powerful enough to be used as shorthand for the studio’s overall output, a reason in and of themselves for people to see the movie.
As for the campaign itself, this is the most profound example of selling the promise of “more of what you’ve already enjoyed” I’ve seen in quite a while, even after having just dived into the latest Transformers marketing. Not only does it make it clear that Gru is still Gru and the Minions are still the Minions, it seems to be sold on the concept of apologizing in some way for the second movie offering changes to the characters, making it clear that everyone’s real inclinations are still toward villainy. So come see this, the campaign promises, because everyone’s getting back into character to some extent. It’s like if there was a sequel to Leaving Las Vegas where Nicolas Cage got sober and then a third one where Elizabeth Shue introduced him to his brother, a bartender.
Set in South Korea, the latest Netflix original film Okja is also the latest movie from director Bong Joon Ho, he of Snowpiercer, The Host and more. Okja is the name given to a massive mysterious beast that looks like an elephant crossed with a manatee and a pig who is the closest companion to Mija (An Seo Hyun). The two are always together in an idyllic life being lived with Mija’s family far-removed from much of civilization.
That all comes crashing down when Okja is taken by the Miranda Corporation, owned and run by Lucy Miranda (Tilda Swinton). The company has big plans for Okja, including using it as the basis for a revolution in meat production. Mija isn’t ready to see her friend permanently disappear, though, and sets out to rescue it, variously helped and hindered by individuals who have their own reasons for wanting to see Okja freed, even if it’s only long enough for them to exploit it.
The poster – yes, Netflix actually created and released one – hammers home the movie’s story through metaphor. Okja is shown in the shadows being led by Mija, who’s walking ahead of it holding a leash. But mounted on Okja’s back is a factory, shown pushing out smoke from the stacks. It’s meant to be a literal interpretation of how the business in the movie is aiming to be built on the back of Okja and the leap forward it represents. Copy at the top makes it clear this is “A Netflix original film” and the Cannes logo is shown as well.
Not only did the movie get a regular poster it got a series of character posters, with personality traits for each person drawn on them like a map of cuts of meat on a pig or cow.
The firstteaser trailer doesn’t explain much. It starts out with someone explaining how she’s managed to combine nature and science, but that’s about it. The other major part that’s revealed here is a brief look at Mija’s relationship with the titular beast. Again, not much here but it does do enough to create some sense of anticipation that there’s a whole world ready to be explored here.
The officialtrailer is much more story-centric, with Mirando talking about the scientific breakthrough the super pig represents and all the benefits it entails. All that is countered with footage of that pig in the woods with XXX until it’s recaptured by the corporation. An animal rights group comes along and promises to save Okja from the corporation, but that doesn’t go according to plan of course. Action and intrigue ensues.
Wow. That’s..unique and I really don’t know what to make of it.
In the nexttrailer we get even more cute shots of Okja and her friend out in the wilderness before it’s taken somewhere by people with their own agenda. She’s determined to get her pet/friend out, though, and we see some of the adventure that’s experienced along the way. It’s not much, but it’s a solid second effort that dropped just a couple weeks prior to release.
Online and Social
The movie’s only online platform is its Facebook page, which has been used to distribute various in-world videos from the Miranda Corporation, share cinemagraphs from the movie and more.
Advertising and Cross-Promotions
A very strange promotional item came in the form of avideo message from Lucy Mirando (Blanchett) who talks about the immense benefits her company has provided. That turns dark for a moment but ultimately ends on a high note. The video debuted in what appears to have been a sponsored post on Wired that was meant to seem like actual coverage of the Mirando Corporation and its activities around the Super Pig Project. Oddly, that article was pulled from the site, though it still shows up in search, with the page throwing a “not found” error.
That to my knowledge is the only paid effort engaged in. No online ads were run that I’m aware of and certainly no TV spots have been aired.
Media and Publicity
The first look at the movie, including some storyboard concepts, came via EW along with a few details about the story. A bit later it was announced that, unlike many Netflix releases, this one would get theatrical distribution as well.
The movie was one of thehandful that had its premiere at this year’s Cannes International Film Festival. That caused some controversy, though, as French projectionists objected to screening a movie that would not first get a theatrical release.
That Cannes screening became something of a lightning, focusing the debate over whether Netflix is good or bad for film in general. Some, including many actors and directors with past, current or upcoming projects at Netflix, pointed out that it was financing and releasing smaller movies that studios weren’t interested in andleaving talent alone to realize their vision. The counter argument seemed to be “If it’s not on a huge screen it’s not a real movie” which confuses production for distribution and discounts that the current system keeps many filmmakers of all stripes from having their work shown anywhere. Throughout the festival, right though this film’s debut screening, various actors and others chimed in with their thoughts, resulting in lots of press and exposure.
There was a bit of publicity outside of the Cannes issue, though one has to believe that controversy only helped raised the movie’s profile in the press to the point where it became one that was worthy of coverage. That press activity included an interview with Ho where he talked about his cinematic influences as well as the intended and unintended messages of the movie. There were also a few stories about the style of Swinton’s character and how the actress got Chanel to provide a key bit of wardrobe.
Well first of all it just has to be noted that Netflix put demonstrably more effort into this movie than it usually does. That comes through with the presence of not just one but multiple posters, a Facebook page and some actual press activity, something the company doesn’t usually engage in. It’s obvious Netflix felt that with a movie of this stature, one they ultimately to the premiere film festival in the world, it had to put some serious muscle behind selling it, regardless of whether or not it was going to screen in theaters.
I just wish it were a bit more consistent in its tone and messaging. The poster tells a story of corporate exploitation, the trailers tell a story of a girl and her super-pig, the publicity hammers home the idea of vegetarianism and the odd in-world campaign makes it look like a bit of Brazil-esque surrealism. So which one is it? The best case for seeing the movie, the strongest message, comes from its festival screenings and the good word of mouth that resulted from those. Outside of that there’s little for the average moviegoer to latch onto. This might be, as some have speculated, Netflix’s first truly great movie but it’s questionable whether the campaign is going to convert many subscribers or if this is just a prestige title for the streamer to tout.
Sophia Coppola returns to the director’s chair with this week’s The Beguiled. A remake of the 1971 film starring Clint Eastwood and Geraldine Page, this one features Nicole Kidman as Martha Farnsworth, the headmistress of a school for girls in Civil War-era Virginia. One day one of her students comes across a Union soldier named John McBurney (Colin Farrell) who’s been severely wounded. Martha and the girls, including Edwina and Alicia (Kirsten Dunst and Elle Fanning, respectively), take him into tend to him and nurse him back to health.
Problems begin to arise almost as soon as McBurney gets his strength back. Despite strict instructions for him not to fraternize with the girls, Edwina soon becomes attached to him, believing his declarations of love. But he’s not the best, most upright guy around and has been fooling around with Alicia as well. That causes tension in the house among the girls, but that tension is directed back around at McBurney, who feels the full weight of the women he’s scorned as well as their protector.
The first and only poster is just fantastic. Like many of the one-sheets for Coppola’s movies, “pink” is the dominant color, this time used for the title treatment that runs along the side of the design, formatted for landscape display along with the alignment of the names of the main cast and the credits. The three primary women, Dunst, Kidman and Fanning, are shown in their genteel glory, all sitting or hovering around the bed of Farrell, whose face is just out of the camera’s range. It’s a gorgeous poster that sells a lovely domestic drama with the exception of the copy, which reads “Innocent, until betrayed” that takes things in a dark direction.
The firsttrailer definitely sets an interesting tone. It opens with a Union soldier being found by a young girl. He’s brought home to the house she shares with the rest of the women in her family and the tension quickly ramps up as two of them vie for his affection, which is forbidden by their mother. A series of quick shots ends with him shouting in the background, asking what they’ve done to him.
It’s pretty great, working to create a feel that all is not what it seems here. It almost plays out like Misery at the end and shows that these aren’t helpless belles here, they’re perfectly capable not only of defending themselves but apparently taking proactive measures to right some wrongs.
The secondtrailer hits many of the same beats as the first, just in a slightly different way. The focus this time is on the dynamic between the women who live on the estate and how that delicate relationship is upended by the arrival of the wounded stranger. A betrayal sets things down a dark path and we see the kinds of turmoil that ensue for everyone involved until it ends, again, with Farrell yelling after the “vengeful bitches.”
Online and Social
Theofficial website loads and begins playing the second trailer. Close that and the front page of the site offers prompts to watch the trailer again, buy tickets or subscribe to email updates. There are also links to theFacebook,Twitter andInstagram profiles established for the movie.
Scroll down the page and you get the usual Focus collection of media that gives the appearance of only being marginally organized, despite the content menu on the left that shows up. So you get a mix of social updates from the cast and others, videos including the trailers and press appearances by Coppola and others, official stills, links to press interviews and lots more.
The social media push was odd enough it attracted the attention of Jason Bailey at Flavorwire, who noted the contrast between the bright pink branding and the dark, gothic tone of the movie itself.
Advertising and Cross-Promotions
Nothing in the way of TV advertising that I’ve come across or been able to find. Some online advertising was done that used the key art to drive ticket sales and the trailers have been used for social media ads, but that’s the extent of the paid push as far as I know.
Media and Publicity
With such a female-centric cast and crew, that combination became a central focus of the campaign. That included comments from Dunst about how filming a sex scene is so different with a female director as opposed to a male director.
The movie was one of thehandful that had its premiere at this year’s Cannes International Film Festival. While at Cannes Coppola also talked about not just this movie but also why the franchise films she’s sometimes offereddon’t interest her at all as well as the struggles she faces not just as an independent filmmaker but a female one to boot. The movie was one of a few Kidman appeared in at the festival, leading to anarrative in the press about the actress’s resurgence and her work ethic.
In an extended interview, Coppola talked about what attracted her to the material, the process of shooting in such a gothic environment, the styles on display, what this period piece still has to tell us today and much more. A short while later comments from Fanning appeared alongside a new photo in EW’s summer movie preview.
Coppola and the cast made the usual comments about working together, the story and more at the movie’s premiere. During an appearance on “The Late Late Show” Coppola had a bit of fun by showing off the off-camera antics the cast engaged in while still in costume.
It makes sense that this being the third movie Dunst and Coppola have made together that they’d dosome joint press revolving around that fact and looking back at previous collaborations. It was also, it should be noted, the second time the director has worked with Fanning. There were other features likethis one of Coppola on her own, most all of which don’t fail to mention her famous lineage.
A minor firestorm emerged in the last days before release when Coppolaaddressed what some were calling a disturbing commission: The excising of a slave from the original story in this new version. She explained that forthrightly, saying basically she didn’t want the only black person in a story focused on female empowerment to be a slave, as well as that if she were going to tackle that topic she wanted to do so more fully and not as a side note in a bigger story. It’s a reasonable answer and approach, though that didn’t stop some outrage as people claimed she was trying to erase mistreatment of blacks from the history of the south.
Because I can’t put it better than I already have, I’ll lift these points from my post earlier this week about the changed portrayal of gender roles from 1971 to 2017:
The entire campaign is one of female empowerment, of them holding the key to their own fates and not being beholden to the whims of any man. That’s clear in the trailers, which present Farrell’s McBurney as a secondary character at best, even if he’s an instigator of much of the story. It’s clear in the social media campaign, which has used cinemagraphic Tweets that overlay current phrases like “Get it girl” in bright colors over the dark, gothic images from the movie. Others have labeled Kidman’s Martha as the “Head Bitch in Charge.” Banner ads have proclaimed on June 23rd, “Good girls go bad.”
The female empowerment is so palpable it’s surprising a character isn’t wearing an “Ask me about my feminist agenda” t-shirt and that the movie hasn’t received wall-to-wall cable news condemnation for indoctrinating youth to believe men are all evil. The bright pink text used in ads, posters and social media posts are so stereotypically “girly” while the actions of the characters are anything but cute and adorable.
That may be over the top for some. But it’s completely on-brand for Coppola and fits stylistically into the campaigns for previous movies like Marie Antoinette and The Virgin Suicides. And it’s absolutely in-line with where the culture is right now, as women are allowed (and encouraged) to be both simultaneously girlish, embracing all things pink and frilly, and every bit as fierce and self-protective as men have long been. That’s the strongest message the movie’s campaign offers.
Well, the Transformers are back, once more in the hands of director Michael Bay. It’s been 10 years since he first brought the big freaking robots to the big screen, with this being the fifth film in the franchise. Now the Bayhem is unleashed once again in Transformers: The Last Knight, which once more stars Mark Wahlberg and once more features a lot of human beings acting like they matter at all as massive robot warriors decide the best possible place in the universe for them to work out their issues is our planet MARS IS RIGHT THERE GO SOMEWHERE WITHOUT ALL THE CULVER’S, YOU JERKS.
Anyway, this time around there’s yet another plot contrivance to set humans and Cybertronians against each other. Optimus Prime has disappeared but now seems to be back and this time is evil or something. There’s a bigger threat coming toward the planet so it’s up to Wahlberg’s Cade Yeager, Oxford professor Laura Haddock (Vivian Wembley) and Sir Edmund Burton (Anthony Hopkins) to unravel the secret history of Transformers on Earth in order to save humanity from the latest world-killing threat.
“Rethink your heroes” we’re told on the first poster, which shows a sword-wielding Optimus Prime standing along a rocky beach as something massive looms in the background, including both sea and air.
A series of character posters were released by Bay on his Twitter that featured many of the main characters, some old, some new. The caption he used when posting them contained some kind of explanation of who they are and what they’re after in the movie. These aren’t bad.
Another poster told the audience the main conflict of the movie was going to be between Prime and Bumblebee, with the former seen looming over the latter as if he’s preparing the killing blow. That’s amplified by copy that reads “For one to live the other must die.”
Another poster plays into the theme from elsewhere in the campaign that the Transformers have been on Earth for a long, long time, by putting one at the forefront of a group of WWII soldiers storming a Nazi headquarters. “Every legend hides a secret” we’re told at the top and it’s called out at the bottom that this was filmed with IMAX cameras, a direct appeal to the tech-heads that are going to be interested in spectacle more than anything.
Black and white character posters started to come out that highlighted the various robots and humans that are in the middle of the story, all with a different descriptive word associated with them.
An IMAX poster put Prime in the middle of the design with not only the looming…whatever in the background but also a huge three-headed dragon for a moment of “what the hell.” I know some of the campaign has shown footage of Transformers fighting with knights and so on, but dragons? Where the hell is this coming from? Seems out of left-field.
One final poster brings the whole cast together, including the humans. They actual actors are arrayed just above Stonehenge, which is shooting a while space laser into the sky. Looming over them are Prime and Bumblebee on opposite sides of that space laster, setting up the conflict between them once more.
There’s not much story in the firstteaser trailer. Burton narrates and offers some exposition about a timeless fight that’s been raging. He intones that Optimus Prime has left and asks the question of why the Transformers keep coming to Earth. After that, though, it’s all about Big F***ing Robot action. We see Prime is back, but he doesn’t seem to be acting like himself. Throughout the trailer there’s something – maybe Unicron? – that’s huge and moving toward the planet and is clearly a threat.
God bless Hopkins for doing what he can with what he’s given. His narration is meant to add some dramatic import to the trailer, but that can’t overcome the senseless action and unexplained chaos on display. This looks like exactly the same kind of movie as the previous four installments, which is just what the studio thinks people want.
The first full trailer is somewhat less concerned with the Big F***ing Robots and more with the humans who are around them. It presents a world that’s very different from what we might expect, with humans and robots coexisting in some ways and at odds in others. It almost presents Decepticons as an occupying force and some humans as the militaristic resistance. It focuses on Izzy, a young girl who’s living rough and surviving on her own. She narrates and encourages everyone to “fight like a girl” as we see some of the fighting against our new robot overlords. Izzy is the center of attention throughout, though.
There’s no bigger mythology being played into or hinted at here. It’s actually kind of an overt plea to young girls who may not have been targeted in the campaigns for earlier movies. We get some story hints, particularly with that “Enemy” sign featuring Prime’s face and the fact that everyone seems to live in bombed-out buildings.
Theofficial trailer starts off in the past as we see Transformers in the world 1,000 years ago in castles with kings and knights. We then cut to Optimus Prime having an odd confrontation with his maker. Next it’s Yeager talking to Izzy about what he’d say to his daughter if she were there. After that it’s about Sir Edmund warning that it’s up to a couple of everyday humans to turn the tide of history and stop the persistent threat of the Transformers on Earth. Scenes of chaos raining down on the world are followed by defiant speeches about not giving up and continuing the fight. Prime then intones that the Earth must die for his world to live, meaning we’re in conquest territory here.
OK, fine. The whole idea of Prime being the bad guy here seems really odd and as with most of Bay’s movies the ambitions toward something epic and transformative (sorry) are greater than the actual execution. It’s being sold as yet another entry in the franchise and on that front it succeeds just fine.
Online and Social
Prime’s grizzled visage glares out at you from the front page of theofficial website, which mostly just has the usual information and a Get Tickets button on it. Remarkably non-cluttered for a movie whose entire visual aesthetic is “busy.”
Moving to the content menu at the top of the page, the first section is “Story,” which lays out the basic idea in the broadest possible terms. There’s a decent chance this is the actual script. After that the “Characters” section has the character posters mentioned above, each with a button to share that image on either Facebook or Twitter.
The “Gallery” has one of the posters along with a handful of stills and some behind-the-scenes production shots of Bay at work just so we remember who the real star of the movie is. “Videos” has the trailers, a couple TV spots and a featurette.
There’s a section for the promotional “Partners” and then “Social” is a drop-down with links to the movie’sFacebook,Twitter,Tumblr andInstagram profiles.
Advertising and Cross-Promotions
A short TV spot appeared to have kicked off the advertising campaign showing some of the biggest, most explosive elements from the first trailer, including using the “Rethink your heroes” copy that’s interspersed throughout those shots.
ATV spot aired during the Super Bowl that featured more of Hopkins’ intellectual talking about why the Transformers keep coming to Earth and Prime talking about meeting his maker. Future commercials showed off the action and humor of the movie and some were focused intently on continuing to build up the idea that the Transformers have been here throughout history, secretly protecting Earth and participating in major world events.
The debut of movie merchandise in stores was accompanied by a campaign dubbed “Reveal Your Shield” that encouraged fans to identify as Autobots or Decepticons.
In terms of cross-promotional partners, here are some of the companies that helped promote the latest entry in the franchise:
Enterprise Rent-A-Car, which created TV ads that took a throwback approach, featuring kids playing with Transformers action figures that are helped in their battle by the company.
Schick, whichoffers a limited edition Transformers-themed handle when you signed up for their subscription shave product service and created other movie-branded products.
Sonic Drive-In,which put movie toys in their Wacky Pack kids meals and ran a sweeps offering a hometown screening of the movie and other prizes.
Valvoline, which ran some co-branded ads and created “Valvotron,” a new Transformer action figure sporting the company’s logo that was given away to select customers.
Crush, whichgave away a free movie ticket with the purchase of any three of their four movie-branded cans of REM’s favorite soda.
Tasty Kake, whichcreated a quiz to see if you were an Autobot or Decepticon that entered you into a sweeps. That went along with co-branded product packaging.
Cat, whichoffered behind-the-scenes exclusive material and the chance to win exclusive merchandise.
Online and outdoor ads were plentiful, all using variations on the key art, mostly of the close-up of Prime staring at the camera.
Media and Publicity
A first look at the movie’s new villain wasteased ahead of time with a series of cryptic messages and really kicked off the publicity campaign outside of news and announcements about the title and filming. Speculation about the movie and its story continued with the release ofa banner showing Optimus Prime taking on some sort of dragon.
A small amount of new footage was seen before the first trailer was released in this promotional video celebrating 10 years of collaboration between Bay and IMAX, which has been used for all of the movies in the franchise. The studio also held afan event at IMAX theaters that showed off footage from the movie as a way to generate some buzz in advance of release.
A short promotional video was released that was structured to appear like it was examining old photos from throughout history from battles and other events that include giant robots. Hot Rod was officially unveiled in a first look photo that appeared in EW’s summer movie preview along with background information on that character’s history. It also included comments from Bay about the extent he went to create monuments to blow up. A clip as well as a humorous promo involving Prime trying to learn a London accent were released during the MTV Movie and TV Awards.
As the final press push was happening and both Bay and Wahlberg were making the media and TV rounds they each signalled this would be the last Transformers movie for both of them. If you’re keeping count, that’s the first such declaration for Wahlberg and at least the third for Bay and he always comes back.
Oof, there’s a lot to digest here. The story that’s being sold completely upends all the mythology of the previous Transformers movies to an extent that defies credulity unless I’ve missed something massive in the first three entries (I’ve yet to see the fourth) that hints a centuries-long presence on Earth. But honestly, does that even matter? They found a new way to create some new robots that look kind of cool and which are visually indistinguishable (my major complaint with these films) as the rest. It doesn’t matter what the story is, just come see Michael Bay light some fuses and ask a Josh Duhamel to look up at and interact with something that will be inserted digitally later.
As much as the generic designs make many of the robots indistinguishable from one another within the movie, the similarity in tone and feel of the marketing for these movies makes them virtually indistinguishable from one another. They all feature the same shots of landscapes blowing up and humans scattering, of someone warning of dire consequences should the bad guys win and so on. It’s all about selling metallic imagery with no sense of the motivations of anyone, just vague dialogue about the consequences of such and such happening.
The one interesting thing to watch is whether the fifth installment of this series will suffer the same sort of franchise fatigue that’s tanked recent installments of Smurfs and other IP as well as legacy sequels including Independence Day. This isn’t a reboot or remake and it’s only been a couple years since the last Transformers, but still: Audience preferences seem to have shifted recently. So while it’s likely this will do just fine, there’s a chance it could tank and bring the house of metal cards Paramount and Bay have built crashing down.