What drove the massive, instant and monetizable connection between studios and the public was developed thanks to an innovation of the internet: social networks. In constant evolution since the arrival of Facebook, the dynamics of the networks continue to be an indispensable marketing and advertising strategy. But in recent years, Hollywood has experienced its dark side: fans are not docile and a handful of malcontents can thwart a campaign with blogs, Facebook and Twitter. Hollywood has learned to walk with lead feet. It will be interesting to see what happens with the upcoming Amazon Prime series, The Lord of the Rings: The Rings of Power, which has generated quite a bit of negative publicity these days because political correctness crowds out Tolkien’s originality.
Displacement
The 2020 pandemic accelerated the latent crisis in traditional studios -Warner, Paramount, Sony, Disney, Fox- which resulted in the emergence of a new economic model, that of digital platforms that distribute and exhibit “content”, and that since some years they also produce it, by order or purchase. Among other radical changes, the big studios have organized their own platforms, in a fight to get subscriptions. The model of selling movie tickets, DVD and BluRay has been outdated, and now the challenge is to persuade and retain subscribers.
As a result of this phenomenon, Comic Con 2022 has just entered its third stage: for the first time, there is no presence of the studios, with previews, stars and spontaneous interaction with the “fans” (unmanageable and unpredictable force). Its place was taken – wallpapering the entire city with advertising – Netflix, AppleTV +, Amazon Prime and the studio platforms: Disney +, Paramount +, Fox, and semi-independent units such as Hulu and HBO Max. They dominated Comic Con and, therefore, the conversation on the networks.
The big winner remained Marvel, demonstrating its ability to adapt to the narrative and economic side of the new landscape. He wooed the fans in the enormous Hall H – 6,000 spectators who queued for more than 24 hours – with a high-tech show, providing the experience of being “inside” his imaginary world. Ken Feige, the president of Marvel Studios, announced the next two Avengers films, and the new series for television and platforms. Marvel’s plan focuses on another anglicism, the “multiverse.” Peering out of comic book heaven, Lee and Kirby will be savoring the continuity of their ideas and creations.
Particularly strong was the presence of Apple TV +, in panels and activations. It seeks to consolidate the image of a player with its own profile, different from Netflix and Disney, with high-quality original programming: Severance, Invasion, See, Mystic Quest and For All Mankind. The “teaser trailers”, which anticipate the next season, provoked raucous applause.
As always, the panels were interesting and varied; a substantial number turned out to be very “woke”, a concession to the “progressive” ideological atmosphere that prevails in the entertainment industry in the United States. One of the warmest was the tribute to Stan Lee on his centenary. A regular participant in Comic Con – his last appearance was in 2017, a year before he died, in a panel of Mexican comics – Lee represents, perhaps like no other, the nexus between the old and the new in American popular culture. and overall.
A final note: the participation of an Argentine professional, Julieta Rey del Castillo, in a panel with location experts. The daughter of immigrants settled in Miami and Atlanta in the 1990s, Julieta, 32, born in Mar del Plata, works in film and television as a location manager, on projects for Marvel, most recently Ms. Marvel and Black Panther 2. : Wakanda Forever. “Effort and opportunity”, pointed out the brief talk held with her, at the end of the panel.
Source: Ambito
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