Latest / Brighter Path: Data, Marketing, Entertainment, and Storytelling / From Emmys to Anime: How Red Carpets, Box Office, and Taylor Swift Are Redefining Entertainment

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From Emmys to Anime: How Red Carpets, Box Office, and Taylor Swift Are Redefining Entertainment · Brighter Path: Data, Marketing, Entertainment, and Storytelling

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  Welcome to the Deep Dive. We're here to cut through the
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  noise, you know, really makes sense of the entertainment world
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  Today. We sift through all that market
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  data, streaming numbers, social buzz, search trends to figure
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  out what's actually making things happen commercially.
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  And today, yeah, we're digging into the latest insights,
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  specifically from the Brighter Path consultancy.
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  We're looking at what they call the cultural flywheel.
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  It's not just theory, right? It's this measurable loop where
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  maybe a red carpet look or a movie premiere, it just
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  instantly ripples out into merch, into what people are
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  searching for. Social media driving real value.
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  Right, Tracking how that initial attention turns into, well,
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  actual commercial success. Proving that the old ways of
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  measuring just looking at TV ratings overnight or the opening
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  box office, they just don't cut it anymore.
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  No, they really don't. Amplification and conversion,
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  That's the game now. And you see this contrast all
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  the time in the data. Brighter path pulls together
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  like you've got something seemingly niche, maybe high
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  fashion General Ortega's look, for instance, that one moment
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  generates this huge measurable commercial impact.
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  Almost rivals, you know, the big traditional signal sometimes.
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  And then on the flip side, you have those traditional signals
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  just rewriting the rulebook, like that huge boxing match last
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  week, Canelo versus Crawford. It wasn't just big.
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  It literally set a record. The most viewed men's
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  championship fight this century on streaming.
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  That's it right there. That's the landscape now, Yeah.
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  High fashion driving value, massive sports events, finding
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  new life on streaming, both creating these huge data spikes,
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  but you know, through totally different channels.
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  That really sets the stage. OK, let's unpack this, starting
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  with the red carpet that immediate attention impact.
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  Yeah, the Emmys this year. I mean, it was almost like a
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  perfect lab experiment for how this attention economy works.
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  Now. The data makes it super clear
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  the spotlight doesn't just switch off when the CBS show
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  ends or drops off Paramount Plus cap.
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  It keeps going. It becomes this multi day
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  cultural engine, right? Here totally, and you see that
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  financial echo immediately come Monday morning.
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  Bang specific search, SPY. Social media is buzzing, and
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  crucially for marketers, people are actually curious about
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  buying stuff. So what's driving that immediate
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  conversion you mentioned? Fandom Crossover.
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  Precisely. And in fashion, it used to be
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  about, you know, getting your dress in the right magazine.
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  Now we talk about earned media value, EMV.
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  It tracks the dollar value of the press, the social shares and
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  importantly, how often people click back to the brand from all
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  that buzz. And the fashion itself was the
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  catalyst here. So let's talk specifics.
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  Jen Ortega, right? She's already a huge cultural
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  force that jeweled Da Vinci look, the quote UN quote naked
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  dress. It was everywhere, reposted
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  constantly, dominated Instagram feeds, global recaps.
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  Yeah, for days. And it wasn't just, oh, that
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  looks nice, it had serious commercial weight, That single
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  look, it delivered the highest per look EMV for Givenchy of the
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  entire night. Think about what that tells a
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  luxury brand that specific celebrity.
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  That specific look generates a return you can actually
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  quantify. It blows the cost of loaning the
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  dress out of the water. It's that press coverage
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  combined with her fans just amplifying it organically
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  creates this loop. Exactly a self-sustaining loop.
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  But then there was something even more maybe disruptive, the
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  K pop factor Lisa from Blackpink.
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  Yes, the Lisa effect, it's real. She wore this Barbie core gown
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  and suddenly this indie label Lever Couture.
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  They were global news. Overnight, that speed is just
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  incredible. That's the key difference, isn't
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  it? Ortega validates Givenche and
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  established giant Lisa. She basically created global
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  awareness for liver couture almost instantly.
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  Her fans are just so dedicated. They seek out, they promote,
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  they amplify everything she touches.
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  Liver couture became a trending topic purely because of that fan
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  loyalty and speed. And we can even see the reach
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  with younger audiences. You mentioned Zig, a zoo.
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  Yeah, the Gen. Alpha platform, they did their
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  own in app poll, which is fascinating in itself.
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  And who did Gen. Alpha pick as best dressed
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  unanimously, Lisa. And this is a huge point from
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  the Brighter Path analysis that K pop influence, especially with
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  Gen. Alpha, it's still seriously
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  under leveraged by a lot of big US brands and media companies.
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  Gen. Alpha, they're setting the
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  trends now and brands that connect with that, even if it's
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  accidentally like lever couture, they get this instant global
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  boost. It's like free, super effective
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  marketing. Signal from the youngest
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  audience? Yeah, that's got to be gold for
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  predicting what's next. OK, let's pivot slightly.
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  What about the actual award winners?
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  Do the trophies translate to eyeballs?
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  Oh, the trophy bump is definitely real, but it's the
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  speed now that's different. Netflix's adolescence.
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  It jumped right back into the top 10 after its wins.
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  Owen Cooper's historic win, Youngest male, Emmy winner.
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  That kind of thing is basically the best ad a show can get.
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  And it wasn't just Netflix, right?
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  HBO Max saw a boost, too. Yeah, The Pit, that dark comedy
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  surged back onto the charts in like, over 60 countries.
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  It's not just guessing, the data shows it.
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  Critical acclaim on that big stage.
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  It translates almost instantly into people wanting to watch
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  even months later. People want to see what all the
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  fuss is about, what the industry validated.
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  Exactly, and for brands tied to this, the critical moment is
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  when someone goes from watching the show or seeing the red
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  carpet look to actually searching for something related.
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  This is where being retail ready is everything.
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  That Monday morning search data, it was incredibly specific.
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  Give us some examples. What were people actually typing
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  into Google? OK, so top queries weren't
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  generic. There were things like Lever
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  Couture, Givney Sheen, Emmys, and really precisely Selena
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  Gomez red dress. People knew exactly what they
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  were looking. For and not just the dresses,
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  right beauty jewelry. Absolutely.
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  Selena Gomez's appearance created this whole buzz around
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  her makeup. Huge spike in searches for rare
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  beauty products tied to her look and jewelry, too.
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  Bulgari, Tiffany and Co, the brand's stylists credited.
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  People we're searching. What's that piece?
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  Specific searches like Bulgari Serpenti or for particular
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  Tiffany necklaces. So literally every visual
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  element is a potential click, a potential sale, and different
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  platforms play different roles in spreading that, Yeah.
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  For sure, we looked at that. Instagram is kind of the visual
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  archive, right? Great photos, people saving
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  looks for later X or Twitter. That's the real time chaos, the
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  commentary, the memes, the arguments.
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  Super fast, super volatile. But TikTok, that's the global
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  engine. They get ready with me videos,
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  the fan edits, They just explode virally.
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  Cross language barriers, huge growth driver.
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  And the traditional media, the articles the next day still
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  important. Still crucial, actually,
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  especially for that EMV calculation.
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  They're the ones who often officially concerned.
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  The designer IDs, the jewelry specifics that fuels the search
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  loop properly. So the take away for brands is
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  clear. First, get the details out,
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  FAFT, tag the look, name the designer quick accelerate that
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  search loop. And 2nd, seriously consider
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  tapping into those crossover fandoms, especially K Pop.
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  If you're not ready when those fans start searching, you're
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  just leaving money on the table. Simple as that.
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  OK, so moving from that super fast personalized red carpet
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  economy, let's look at the big screen theatrical releases.
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  We're seeing that same idea of eventizing things, but obviously
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  on a different scale. Yeah, the basic patterns are
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  still there, but they're really shaped by the genre now and
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  frankly, by the ambition of the film itself.
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  Like anime for instance, we saw Demon Slayer do huge numbers.
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  Huge numbers flew past $400 million worldwide.
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  That's massive, yeah. But just as expected, it had
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  that really sharp drop in the second week.
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  It's that classic front loaded pattern we see with big anime
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  releases. Why is it so front loaded?
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  What drives that? It really comes down to the core
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  fandom. They are intensely committed.
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  They go opening weekend multiple times even, partly to avoid
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  spoilers, partly just to be part of that initial wave.
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  It's all mobilized online. Pre sales are huge.
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  So you get this massive initial spike, but then it's harder to
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  sustain that momentum with the, you know, the broader, more
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  casual audience in the following weeks.
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  Makes sense. Whereas something like Jordan
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  peels him that landed pretty much where expected.
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  Yeah, solid performance, right in line with projections.
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  He has such a strong director brand in that genre.
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  The audience knows what they're getting.
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  The performance is more predictable.
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  But if a film doesn't hit that event, feel the market can be
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  tough. Sony found that out with a big,
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  bold, beautiful journey right despite the stars.
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  Oof. Yeah.
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  Margot Robbie, Colin Farrell. Huge names, but it debuted at
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  the low end of projections. It's a tough reminder.
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  Star power alone isn't a guarantee anymore, not if the
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  film doesn't feel like something you have to see in a theater,
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  something special you can't get at home.
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  Audiences are just way more selective now.
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  So what defines an event now? Seems like it splits between
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  maybe director driven events and franchise events I think.
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  That's a good way to put it. Like next week we get Paul
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  Thomas Anderson's One Battle after Another.
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  The Brighter Path report flags this as like a major cinematic
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  moment. Sprawling, satirical Leo
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  DiCaprio. Sean Penn It sounds kind of
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  messy, chaotic, urgent. But that complexity, that
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  ambition is exactly what makes it vital.
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  It's guaranteed to spark conversation.
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  That's a director driven event. And then the other end is James
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  Cameron, Avatar, Fire and Ash. It's already projecting huge
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  numbers, yeah. Tier 1 baseline projections,
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  which is kind of nuts considering the main marketing
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  push hasn't even really started. The model is to see Cameron and
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  Avatar and automatically factor in this massive audience
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  urgency. People just associate his name
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  with that must see theatrical experience.
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  Once Disney unleashes the full marketing machine, yeah, it's
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  expected to be the definition of a blockbuster event.
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  It's not just a movie. It's perceived as a required
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  cultural experience. But maybe the most disruptive
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  example, the one really changing the game, it's Taylor Swift.
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  Oh, absolutely. She's basically rewritten the
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  playbook for an album launch. We're talking about the
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  ecosystem artist here, the life of a showgirl.
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  It's premiering in two weeks, not just streaming, but as a
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  global theatrical event. And the projections based purely
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  on digital signals, social buzz, purchase intent, pre sales are
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  over $50 million opening weekend. 50 million.
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  How is that projection different from say, a typical movies?
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  It's way more complex. It has to factor in everything
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  she does simultaneously. The merch drops, the social
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  media campaigns, the exclusive content only in theaters all
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  time perfectly with the album. It turns the music launch itself
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  into this massive multi platform spectacle.
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  She's not just releasing an album, she's activating an
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  entire ecosystem. Album, film, maybe future
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  streaming merch. It's a cultural flywheel as
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  powerful as any studios biggest franchise.
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  That's incredible, and it really highlights the difference
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  compared to a more traditional marketing push, like for
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  Universal's Gabby's Dollhouse movie.
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  Exactly. Gabby's is relying mostly on
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  paid ads to drive his box office standard of playbook.
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  Nothing wrong with it, but the data shows the consumer product
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  buzz around it is, well, pretty muted compared to the organic
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  fan fueled engine Swift creates. It's that difference between
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  buying visibility and cultivating genuine, active
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  momentum. And Speaking of consumer
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  products, is the current movie slate translating into much
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  retail action yet? Not really.
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  For most titles right now, the models are predicting the real
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  surge comes later, closer to Thanksgiving.
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  That's when Wicked for Good lands, you get the movie buzz
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  converging with peak holiday shopping.
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  That's when you expect the licensing programs to really pay
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  off. That holiday window is still key
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  for turning movie hype into actual product sales.
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  Got it. And one last note, there's buzz
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  around Tron errors, but the early tracking.
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  Yeah, it's currently tracking a bit below the frankly very
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  ambitious expectation set for it.
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  There's still time to build heat, obviously, but it's a good
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  reminder that even beloved legacy IP needs really sharp
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  execution. You have to sell the urgency of
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  seeing it now, especially when the bar for event is being set
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  so high by people like Cameron and phenomena like Swift.
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  OK, so if we're talking about sheer scale market control, you
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  just have to look at Netflix. The brighter Path data really
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  paints a picture of dominance, both with new hits and,
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  interestingly, how they're making sports work.
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  Let's start with the monster hit Wednesday.
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  The numbers are just wild. Absolutely unprecedented really
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  season 2 Part 2 pulled in what was it 116 million hours viewed
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  last week and just as the models predicted, it cracked the all
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  time top ten list for English shows.
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  So now it's up there with Season 1, which is still holding number
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  one. It's not just a hit show, it's
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  this enduring cultural force they've built.
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  How does that even happen, having both season 1 and season
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  2 Part 2 in the top ten at the same time?
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  What is the data suggest there? It points to this really
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  powerful cycle. You know, the new season drops
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  and you get the die hard fans watching immediately.
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  But all the buzz also brings in new viewers or people who maybe
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  missed season 1. So they jump in and binge the
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  old season while the new one's hot.
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  It creates this compounding effect.
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  The new stuff actually drives engagement back to the older
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  catalog. Really smart.
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  And that event strategy isn't just for shows.
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  They made a huge splash in live sports, too.
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  Oh yeah. The Canelo versus Crawford fight
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  that was a statement piece setting a record most viewed
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  men's championship fight of the century.
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  It just proves they can take these massive events, things
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  usually lock behind pay-per-view or on specific sports networks
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  and turn them into huge streaming moments.
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  They're seriously challenging the old guard there.
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  And film wise, their library just seems to dominate the
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  conversation. Eight of the top 10 movies last
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  week. That level of control is really
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  strategic. It shows how effectively they
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  use licensing and their own originals, plus constant
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  promotion on the platform itself to just be the default place
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  people go for movies. Whether it's something new or an
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  older favorite, they usually have it.
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  It makes it incredibly tough for competitors to get consistent
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  traction with their own movie offerings.
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  But outside of Netflix, we are seeing some really interesting
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  stories of staying power, right? Titles that just keep
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  performing. Totally K Pop Demon Hunters is a
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  great example held on to the global number one spot for film.
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  But what's really impressive, it just broke a record set by the
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  Mitchells versus the Machines. Back in 2021, Demon Hunters
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  logged 930 million minutes viewed in its 10th week.
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  That's huge. 930 million minutes in Week 10.
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  That sounds astronomical compared to just a few years
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  ago. What changed?
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  I think it shows that these global, visually strong genre
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  hits, especially ones with super active fan bases online, they
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  can just sustain momentum way longer now.
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  Back in 2021, Mitchell's felt like it lasted forever.
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  Now, K Pop Demon Hunter shows that a really shareable global
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  hit fueled by social media buzz worldwide can keep pulling in
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  massive viewing numbers long after you'd expected to decay.
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  And there are other examples of shows building steady momentum,
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  not just exploding overnight. For sure.
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  Look at Miranda Cosgrove's The Wrong Paris.
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  It's been quietly climbing building buzz.
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  Now it's top ten in over 70 countries.
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  It shows that word of mouth and maybe targeted local pushes
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  still work. And he stole the anchors, right?
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  Like SpongeBob SquarePants on Paramount is incredibly
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  resilient, keeps performing, holds down their kids strategy
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  alongside newer stuff like Sullivan's Crossing.
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  And getting these streaming debuts right relies on good
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  prediction, good modeling. Exactly.
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  Pixar Zelio is a perfect example.
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  The data accurately predicted it's theatrical run, which then
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  allowed for really precise modeling for its Disney Plus
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  debut. And bam, it landed just as
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  expected, number one film in over 50 countries almost
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  immediately after hitting the platform midweek.
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  That kind of predictability, that's the sign of really strong
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  data work in IP management. Which kind of brings us back to
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  the Emmys again, that idea of older shows getting a second
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  life climbing back up the charts.
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  Yeah, the Emmy bump driving catalog viewing is clear as day.
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  HBO Max saw Task jump to its number one series worldwide,
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  mostly thanks to that post Emmy attention.
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  Same with Only Murders in the Building popping back up on Hulu
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  and Disney Plus. Sam, these are new shows.
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  They're getting a boost from that external validation.
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  If we connect this to the bigger picture, what we're seeing is
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  that critical acclaim translates instantly into a nude catalog
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  demand, even months or years later.
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  The Emmy coverage acts as this global reminder, you know?
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  And if the platform makes it easy to find those shows, people
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  dive back in. The whole cycle just keeps
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  going. The data just shows us where the
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  audience is heading next based on whatever is buzzing
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  culturally right now. So the big lesson seems to be
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  that attention needs to be spread, amplified.
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  And in the world of intellectual property IP, that often happens
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  through partnerships, right? Collaborations.
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  It's less about guarding your characters and more about
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  letting them play in new sandboxes.
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  Exactly. These external partnerships are
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  pretty much essential now. They keep the IP alive, reach
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  totally new audiences, and, crucially, turn someone who just
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  vaguely knows a character into someone who actually buys
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  something. And nostalgia?
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  Still the best way to make that happen.
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  Like turning IP into wearable memory triggers?
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  Tell us about that Levi's collab.
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  Right, so Levi's is doing a big thing for Toy Story's 30th
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  anniversary. It's not just slapping
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  characters on shirts, it's a whole denim focused fashion
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  forward collection. It takes that childhood memory
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  Woody chassis and weaves it into clothes for adults.
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  It leverages that deep emotional connection to create something
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  people will actually wear and value, reminding them of that
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  original feeling. And some collabs are just a
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  natural fit, like connecting IP with something people actually
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  need. Yeah, The Honest Company,
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  partnering with Disney on baby care stuff.
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  Mickey, Winnie the Pooh. It's genius.
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  You take a brand known for being clean and trustworthy, and you
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  pair it with characters that basically define early
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  childhood. For parents who grew up with
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  Disney, it creates this instant emotional connection and trust
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  for a product they need anyway, the IP does half the selling.
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  And gaming is still maybe the mainstage for old IP to find new
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  kids. Oh absolutely, Fortnite is the
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  master class here at their latest event.
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  Power Rangers, Dino Megazord, new skins, quests.
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  They just keep using the game as this constantly changing
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  cultural playground. Old IPS get refreshed, find a
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  whole new generation Gen. Z Gen.
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  Alpha who might never see the original show otherwise.
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  It's not just cartoon characters, either.
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  Even fancy car brands are getting in on this.
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  Yeah. Pub G Mobile teaming up with
• 18:12
  Lotus, dropping the Amara and Amaea cars into the game.
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  It shows how brands like Lotus are trying to connect with
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  younger people who aren't driving yet.
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  Let them experience the car digitally, get familiar with the
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  brand, Build that aspiration early on.
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  It bypasses the whole intimidating showroom thing.
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  Smart. Then there's the seasonal stuff.
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  Collectibles, Joan Soda Go and Spooky with Marvel.
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  Yeah, the Marvel Zombie Soda line is playful.
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  It's limited edition for Halloween, and it proves you can
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  take superheroes and stretch them into like, a horror
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  aesthetic without damaging the core brand.
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  It's selling a fun, collectible moment tied to the season.
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  And collectibles can be everyday things, too, like candy.
• 18:50
  The Hershey's Kisses and Pokémon Collab is perfect.
• 18:53
  Wrapping kisses in foils featuring all 151 original
• 18:56
  Pokémon, it turns basic candy into a trading card experience.
• 19:00
  The rapper itself becomes the collectible people trade them,
• 19:03
  share photos. It taps into that deep
• 19:06
  nostalgia, but also makes it social.
• 19:07
  Now the packaging is the product almost.
• 19:10
  Wow, we're even seeing brands try to get into people's homes.
• 19:13
  Like literally into their bedroom.
• 19:15
  Yeah, Formula One, partnering with Pottery Barn Kids and teen
• 19:18
  racing themed bedroom decor. That's a long term play.
• 19:21
  You put the sports vibe right into a kid's personal space.
• 19:24
  Build that familiarity, that aspiration early on.
• 19:27
  You're cultivating the fan of tomorrow, making F1 part of the
• 19:30
  world long before they might buy a ticket.
• 19:31
  OK, finally, let's look at studios basically reusing their
• 19:35
  own stuff, but strategically based on what audiences want.
• 19:38
  Right, IP recycling. But like, smartly done Prime
• 19:43
  Video sees the huge ongoing love for the summer.
• 19:45
  I turned pretty serious. So what do they do?
• 19:46
  Turn it into a feature film. And the key?
• 19:50
  Getting Jenny Hand, the original author, to write and direct and
• 19:54
  bring the original stars back. That guarantees the fans will
• 19:57
  follow. It feels authentic.
• 19:58
  And Disney's reaching back into the 2000s closet.
• 20:01
  Yeah, Camp Rock 3 is happening, but they're smart about it.
• 20:04
  Jonas Brothers are back, but his executive producers Demi Lovato
• 20:07
  to EP role. They use that original star
• 20:10
  power that nostalgia hit as an anchor to launch a new cast.
• 20:14
  The plot involves a competition to join the reunion tour.
• 20:17
  It cleverly bridges the gap between the original millennial
• 20:20
  Gen. Z fans and a new generation.
• 20:22
  And animation studios are leaning hard into current
• 20:25
  Internet culture. Oh yeah, look at Angry Birds
• 20:27
  Movie 3. They're adding YouTube mega star
• 20:30
  Mr. Beast and Salish Matter, who's huge with Gen.
• 20:32
  Alpha to the voice cast. That's a direct play for that
• 20:35
  creator driven audience. Maximum visibility with a 10 to
• 20:38
  14 crowd. And then they shifted the
• 20:41
  release date to December 23rd, 2026 right into that prime
• 20:45
  holiday movie window. Every single move there feels
• 20:48
  totally data-driven, aimed squarely at nailing that Gen.
• 20:51
  alpha market. OK, so we've covered a lot of
• 20:53
  ground from, you know, a single dress on a red carpet to massive
• 20:56
  global streaming hits, whether as Jenner Ortega's Givenchy look
• 20:59
  driving huge EMV, Taylor Swift projecting a $50 million plus
• 21:02
  opening for her film or Wednesday locking down to spots
• 21:05
  in the all time Netflix top ten. The main take away really seems
• 21:08
  to be that influence now is all about that ripple effect across
• 21:11
  platforms, across products. It's about conversion and speed.
• 21:14
  Absolutely. The synthesis here, especially
• 21:16
  from the brighter Path data, is that marketers can't just focus
• 21:19
  on launch day anymore. You have to plan for the day 2
• 21:22
  narrative, the day three narrative, and beyond what
• 21:25
  happens after the initial splash.
• 21:27
  Because the data shows everything matters.
• 21:29
  Controversy, Fashion, Awards, memes, they all drive attention
• 21:33
  and potentially conversion. Success isn't one hit wonder.
• 21:37
  It's about building that whole ecosystem, being ready wherever
• 21:40
  your audience is searching or sharing or scrolling, and being
• 21:42
  ready to sell when they are. Which brings us back to
• 21:45
  something we touched on that feels really important looking
• 21:47
  forward, that K pop power the Gen. alpha's signal like that
• 21:51
  Zig a zoo pole picking Lisa. Yeah, that Gen.
• 21:53
  Alpha group, they are the future casemakers, the future spenders.
• 21:57
  And when you see artists like Lisa having this immediate,
• 22:00
  massive commercial impact, turning an indie label like
• 22:02
  Liver Couture into a global name with one outfit, it just begs
• 22:06
  the question, right? For every major company out
• 22:08
  there, CPG Entertainment, whatever, who's going to be the
• 22:11
  first to really lean in to harness that proven high
• 22:15
  conversion K pop influence strategically to define what's
• 22:18
  cool for the next decade? Not just borrow a star for a
• 22:21
  quick campaign, but truly integrate it because the data
• 22:24
  showing this powerful engine is just sitting there ready.
• 22:26
  Who's going to turn the key?