Universal’s Strategic Marketing for “Wicked: For Good”
Prior to the cinematic debut of “Wicked” one year ago, Universal Studios elucidated its straightforward aspiration for the film’s promotion. Chief Marketing Officer Michael Moses stated the intent was to be “just short of obnoxious.”
The studio, renowned for its vibrant pink-and-green marketing campaign, orchestrated a monumental blitz surrounding the tale of Oz. This included a $7 million Super Bowl advertisement, thematic beverages from Starbucks, and partnerships with an impressive 400 additional brands.
Furthermore, the film made a notable appearance at the Paris Summer Olympics, adorned countless magazine covers, and featured a press junket of unprecedented scale. Even nearly a year later, audiences are still “holding space” for the iconic lyrics of “Defying Gravity.”
“They needed to hit people over the head,” remarked a competing studio executive.
Universal aimed to position “Wicked,” a cinematic rendition of the Broadway sensation, not merely as a charming musical for mothers and daughters, but as a multifaceted spectacle comparable to “Barbie.”
This ambitious strategy bore fruit, resulting in an impressive opening of $112 million and an unprecedented global box office sum of $756 million for stage-to-screen adaptations. The film thrived on digital platforms and garnered 10 Oscar nominations, achieving a remarkable cultural resonance.
With the upcoming release of “Wicked: For Good,” set for November 21, Universal is adopting a marginally more restrained approach. However, “restraint” is relative; the marketing remains omnipresent but is characterized by a less “obnoxious” demeanor.
Although promotional activity never truly subsided—evidenced by a performance from Cynthia Erivo and Ariana Grande at the Academy Awards in March—the studio postponed the official marketing push until summer.
“You can’t miss us if we never go away,” Moses noted to Variety last November. In contrast, promotion for the first film commenced during the Super Bowl, a full eight months before its release.
“A defining characteristic of the marketing for the new installment would be ‘restraint.’ The studio has indeed moderated,” observed Jason Squire, professor emeritus at USC’s School of Cinematic Arts. “We’re not being inundated as we were with the first film.”
Universal’s adjustments are underpinned by sound rationale. This time around, “Wicked” is recognized; avoiding consumer fatigue after two years is paramount. To gauge audience tolerance for the vibrant marketing, the studio conducted exhaustive exit polling.
Findings indicated that fans welcomed the onslaught, as the relentless campaign cast “Wicked” as an event worthy of leaving home. Cynthia Erivo performs during the two-hour NBC special “Wicked: One Wonderful Night” ©NBC/Courtesy Everett Collection
Although presenting a commercial risk, a year’s interval has effectively yielded cost-saving benefits. Typically, extensive funds are expended to reacquaint audiences with a property following a prolonged hiatus.
However, since “Wicked” remained active in public dialogue, the need for such spending was mitigated. The studio allocated approximately $90 million for global promotional activities compared to the nearly $150 million budget for the initial film.
“By staggering the films by one year, you capitalize on the residual goodwill and significant marketing investments from the first installment,” stated Squire.
The core elements of the “For Good” campaign comprise the two-hour NBC musical special “Wicked: One Wonderful Night,” a special episode takeover of “Dancing With the Stars,” and a podcast offering behind-the-scenes insights hosted by Vanity Fair’s Chris Murphy.
Additionally, an array of brand collaborations has emerged: Dunkin’ introduces “Wicked” green matcha, pink refreshers, and Munchkins; American Girl presents Glinda and Elphaba dolls, while Procter & Gamble has rolled out a dizzying variety of household products, including Swiffer, Secret deodorant, and Cascade.
Overall, Universal has forged partnerships with 400 brands, with only 165 of those repeating from the original campaign.
Similar to the first film, “For Good” benefits from NBCUniversal’s Symphony marketing initiative, wherein various sectors of the vast media conglomerate collaborate to elevate a project.
This extensive effort includes a “Wicked Week” takeover on “Today” and “The Tonight Show,” alongside custom promotions across NBC and Peacock series such as “The Traitors” and “Real Housewives,” all distinct from the film’s marketing budget.
Notably, Universal is forgoing a traditional press junket, opting instead to limit interview availability for its star-studded ensemble, which includes Grande, Erivo, Jonathan Bailey, Jeff Goldblum, Michelle Yeoh, Bowen Yang, and director Jon M. Chu.
Rather, cast members will partake in fan-centric events across cities like São Paulo, Paris, and London, culminating in the North American premiere in New York City.
While it may be premature to celebrate, “Wicked: For Good” is projected to achieve an opening surpassing its predecessor.
However, the enduring appeal of this installment remains an open question, particularly given that the second half harbors a markedly darker tone than the buoyant first act of the stage show.
Nevertheless, box office specialists forecast that the fantasy musical will maintain traction in theaters due to a dearth of female-targeted content—an essential demographic likely responsible for repeat viewings—until year’s end.
Moreover, this is not a sequel; the narrative’s continuity invites audiences to discover the resolution of Elphaba and Glinda’s odyssey along the Yellow Brick Road as it intertwines with “The Wizard of Oz.”
“The first movie focused on priming the pump,” remarked an executive from a competing studio. “Now, they wish to maintain momentum.”
Source link: Variety.com.
