While there might have been a brief uptick in the viewership for recent awards ceremonies, the act of communal live TV watching is still not what it used to be. In the US, one constant is sports, and while weekly games might only appeal to an impassioned subset of fans, the Super Bowl’s broader appeal makes it the most attractive night of the year to advertisers. This is their big chance to make an impression with an audience that typically exceeds 100 million viewers. The event inevitably commands the highest advertising rates, with a 30-second spot costing about $8 million this year—a record amount. Consequently, only the largest companies can afford to participate, translating to film studios like Paramount, Disney, Universal, and Warner Brothers flashing the cash. However, was this money well spent in a year that lazily brings back more franchises than ever before?
From Jurassic World to Final Destination to How to Train Your Dragon, recycling old franchises seems to be Hollywood’s preferred strategy this year. Following the trend, Smurfs are making a comeback, with Rihanna set to voice Smurfette, replacing the previous artists like Katy Perry and Demi Lovato. It raises the question: will Rihanna’s new album double as a Smurfs soundtrack?
Despite mixed results from the Jurassic World franchise, nostalgia and the pairing of Scarlett Johansson and Mahershala Ali have stirred some excitement for the new film, Jurassic World Rebirth. The latest spot for this film is essentially a remix of previous trailers, emphasizing the multitude of restarts this summer. Yet, there is also a notable conclusion at hand. Paramount is marketing this upcoming movie as the final installment of the longstanding Mission: Impossible franchise, a move reportedly against star Tom Cruise’s wishes.
The new spot for Mission: Impossible heavily underscores this being the end, evoking a sense of nostalgia for one of the few consistently enjoyable franchises in recent times. While audiences seem to prefer reliable names like Keanu Reeves, Gerard Butler, and Jason Statham, Hollywood continues to experiment with new action stars with mixed success. For instance, Aaron Taylor-Johnson has been unable to generate excitement for Kraven the Hunter, while Henry Cavill has faced two consecutive flops with Argylle and The Ministry of Ungentlemanly Warfare. This past weekend, Ke Huy Quan starred in Love Hurts, which opened to a discouraging $5.8 million.
As for the emerging action stars, audiences may warm to Ana de Armas in the John Wick summer spinoff Ballerina, or to Jack Quaid, known for Amazon’s The Boys, in the peculiar action-comedy Novocaine. However, with the costly placement of these new ads, Paramount appears to be banking on significant returns from projects with small budgets.
In the animated film realm, the transition from animated to live-action has faced criticism, with How to Train Your Dragon presenting no unexpected surprises—neither in visuals nor in concept. Disney, however, receives some credit for crafting a Super Bowl ad that doesn’t simply mimic a trailer, turning the live-action Lilo & Stitch promotion into a genuinely surprising campaign. This 30-second spot features the beloved character invading the pitch, effectively setting the stage for an extensive promotional strategy that capitalizes on Fox and Disney channels in the coming months.
Disney also hinted at its other major summer project, Thunderbolts, featuring a concise 30-second preview that just dropped online. Julia Louis-Dreyfus’s Wario-ed Nick Fury states, “The Avengers are not coming,” at the beginning of this sorta antiheroes assemble caper. This proclamation is somewhat misleading, given that Marvel has greenlit a new Avengers film, but the subsequent montage promises quips, explosions, and an ironically used 80s pop song that aims to lure Deadpool fans into theaters this May.
Yet, amidst this buzz, the big Super Bowl spot showcasing Brad Pitt’s F1 film stands out as one of the summer’s biggest question marks. This anticipated film continues the engaging work established by last year’s first trailer, embracing multi-sense immersion. Set to be the most authentic racing film ever made, it has been created in collaboration with the governing body of Formula One, filmed during actual events over the past couple of years. The new ad effectively highlights its authenticity, which raises expectations among fans.
With a considerable budget backing from Apple, which is still awaiting its first genuine box office success, the pressure is on for this production to deliver. If anyone has the potential to weave together this seemingly unlikely magic, it’s director Joseph Kosinski, who previously transformed Top Gun: Maverick from a curiosity into a colossal hit. As excitement mounts for Brad Pitt’s F1 film, viewers are left wondering whether it can meet the high hopes associated with such an ambitious project.
In conclusion, with the Super Bowl as a significant platform for advertising, various studios are staking their claims, investing in trailers that spark interest in their franchises. The question remains whether these familiar titles can revitalize interest or if audiences are ready for something new, with Brad Pitt’s F1 film serving as a barometer for the changing landscape of cinematic storytelling.
