As the U.S. faces potential economic challenges, marketing leaders in the film and streaming sectors remain optimistic about Hollywood’s resilience against these obstacles.

This sentiment was a key topic during a discussion on Thursday at the Variety Entertainment Marketing Summit, presented by Deloitte. A panel of senior marketing executives from film and TV shared insights on how the management of films post-theatrical release has evolved positively for major studios, particularly those with output agreements with their streaming counterparts, like Disney with Hulu and Universal Pictures with Peacock. The experts also delved into the nuanced strategies for awards campaigns, the challenge of engaging Gen Z audiences, and the necessity of year-round marketing efforts for blockbusters and franchises to keep fans engaged.

Addressing the current economic landscape, the film executives highlighted a historical advantage that the industry possesses during tough times.

“We operate in a sector that we believe is recession-proof. It’s an affordable form of entertainment. While people may cut back on travel or major purchases, what we offer is accessible,” stated Dwight Caines, President of Domestic Marketing for Universal Pictures. “We aim to provide an easy escape that people can choose, and we want to foster that habit.”

Christian Parkes, Chief Marketing Officer for indie distributor Neon, known for Oscar winners like “Anora” and “Parasite,” noted that the early-year box office gloom has lifted as studios have become adept at targeting specific fan demographics to draw audiences back to theaters.

“The first quarter was challenging, but the audience response to films like ‘Minecraft’ and ‘Sinners’ has been strong,” Parkes remarked, referencing recent theatrical releases from Warner Bros. He credited studio marketing teams for executing successful launch campaigns. “They effectively connected with audiences. It’s about understanding and defining those audiences and communicating in a way that excites them.”

JP Richards, President of Worldwide Marketing for Lionsgate Motion Picture Group, emphasized the need for marketers to engage Gen Z in unique ways compared to previous generations: “This generation, aged 12 to 27, has grown up during unprecedented times. They crave genuine relationships, often found on social media, but those connections can be superficial. We must approach them with care.”

Martha Morrison, Executive VP of Marketing for Walt Disney Studios, shared that family-oriented films have seen a resurgence, with audiences eager to return to theaters. “People are looking for activities to enjoy with their children. They’re excited to go back to the movies,” she noted, referencing the success of “Mufasa” during the Christmas season.

On the streaming side, the expansion of pay-one windows has greatly benefited specialty labels like Searchlight Pictures. Rebecca Kearey, Head of International Marketing and Distribution at Searchlight, mentioned that being part of the Disney+ and Hulu ecosystem has provided significant advantages.

“This has added a new dimension to our business that we didn’t have before,” Kearey explained. “Our previous partnership with HBO was excellent, but nothing compares to the ability to directly collaborate with colleagues and discuss release dates. Having a dedicated Searchlight hub on Hulu has been phenomenal.”

Jennifer Storms, Chief Marketing Officer for NBCUniversal Television and Streaming, echoed this sentiment, highlighting how Peacock serves a similar purpose for Universal Pictures and other NBCU content brands.

Universal Pictures’ 2024 musical blockbuster “Wicked” has been available for streaming on Peacock’s paid tier since March, along with a variety of additional content. Storms noted that “Wicked” was a significant investment for NBCUniversal, prompting the company to mobilize its Symphony marketing team to ensure a robust promotional push at its launch last November. The film, directed by Jon M. Chu and featuring Cynthia Erivo and Ariana Grande, has already amassed 800 million minutes of viewing time on Peacock, according to Storms.

“We’re committed to creating a continuous cycle of engagement,” Storms stated, emphasizing that “Wicked” has become Peacock’s top-performing film in the pay-one window since the deal was established with its sister studio in 2023. “This allows us to provide a renewed launch platform as we introduce the ‘Wicked: For Good’ trailer, and we’ll keep the momentum going.”

Storms highlighted that the success of Symphony stems from NBCU’s commitment to fostering a culture of collaboration. “We’ve operationalized this approach, which is no small feat. It’s taken over a decade, but we prioritize collective success over individual business interests because we believe that the whole is greater than the sum of its parts.”

Caines agreed, noting that while “Wicked” was a well-known property after its 20-year run on Broadway, Universal recognized that theater enthusiasts alone wouldn’t generate the revenue needed to recoup their significant investment. This is where the comprehensive support from Symphony proved invaluable.

“We understood that the passionate fan base wouldn’t be enough to achieve our financial goals,” Caines explained. “We needed to reach beyond that demographic. We aimed to connect with audiences who might say, ‘I don’t typically watch musicals, but I see myself in that movie.’ This is when entertainment truly resonates, especially during times when people are seeking an escape or comfort.”

The stakes for marketers have risen alongside the budgets and break-even targets for major studio releases. Universal took a significant risk with “Wicked” by filming it back-to-back, planning to release it in two parts over two years. Had the first installment underperformed at the box office last November, the marketing team’s task for “Wicked: For Good” would have been daunting.

“This film grossed nearly three-quarters of a billion dollars, which positions us well for the sequel,” Caines remarked. “Imagine if ‘Wicked’ hadn’t succeeded.”

Morrison pointed to a similar scenario at Disney with the upcoming “Moana 2.” Initially intended for a streaming release, the success of the original 2016 film on Disney+ prompted studio executives to recognize that “Moana 2” would be a significant draw in theaters.

“We’ve been transparent about how well ‘Moana’ performed on our streaming platform, being the first film to reach a billion streams,” Morrison noted. Following the release of “Moana 2” last November, “we observed another surge in viewership for ‘Moana’ and all related content. A similar trend occurred with ‘Inside Out’ and the ‘Planet of the Apes’ and ‘Aliens’ franchises on Hulu. Success benefits everyone, and having Disney+ and Hulu within our family allows us to capitalize on that effectively.”

Kearey emphasized that the caliber of films and the talent behind them often inspire marketers to elevate their efforts.

“We’re fortunate to work in such a creative industry,” she said. “It’s incredibly motivating to present projects in the most engaging and captivating manner. This challenge drives marketers from morning until night.”

Richards reflected on how the responsibility of marketers has expanded in maintaining franchises like Keanu Reeves’ “John Wick” series as digital platforms have proliferated. The upcoming spinoff film “Ballerina,” starring Ana de Armas, is set to debut in June, presenting another opportunity to create campaigns and content for “John Wick” fans.

“Just five years ago, our social strategy revolved solely around the film’s marketing. Now, it’s a constant engagement,” Richards explained. “It’s about community management and ongoing interaction. When we have the chance to expand the universe through both television and film, it’s even more exciting. The upcoming release of ‘Ballerina’ in six weeks is a fantastic opportunity for us. We’re also gearing up to share more news about ‘The Hunger Games’ with initial casting for the next installment following the book’s launch. That’s what fuels our passion.”

(Pictured: Variety‘s Matt Donnelly, NBCUniversal’s Jennifer Storms, Universal Pictures’ Dwight Caines, Neon’s Christian Parkes, Walt Disney Studios’ Martha Morrison, Searchlight Pictures’ Rebecca Kearey, and Lionsgate’s JP Richards)