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Marketing Brew

Entertainment

Jennimai Nguyen

marketingbrew.com

Alison Brie and Dave Franco have been busy 

 each other’s sweat—but if that’s not enough to pique people’s interest in the duo’s new horror film 

, the out-of-the-box online campaign just might.

To drum up hype for the movie, which explores a codependent relationship through a body-horror lens and was produced by and stars the real-life couple, distributor Neon pulled a couple of stunts online, including releasing a 

 using special tech to track how a viewer’s pupil dilated during the film’s most eye-popping moments, offering to 

 of someone who proposed at a movie theater, and offering free couples’ therapy to anyone who felt the film’s themes hit a little 

The free therapy offer was in partnership with online mental health provider OurRitual, which supplied a free couples’ counseling session to fans who saw the film in theaters. Eran Yorkovsky, VP of marketing at OurRitual, said the partnership brought in high engagement rates, and he is hoping this campaign is only a piece of how the company can collaborate with the entertainment industry.

“[The film] aligns very well with what we are trying to help couples with,” Yorkovsky told us. “Although it’s a horror movie, and our goal is to make sure your life is not a horror movie, it felt right.”

Yorkovsky said Neon first approached OurRitual to collaborate, but admitted that the cold reachout “[almost] fell between the cracks.” The studio, he said, had initiated contact via OurRitual’s online support form, and while staffers found the message “strange,” Yorkovsky quickly took the call. After meeting with Neon’s team to discuss the potential partnership and watching an early version of the film, he was on board.

“I felt this is something crazy enough that it might work,” he said.

To participate in the giveaway, moviegoers were required to upload a photo of their movie ticket to OurRitual’s website before getting a free session. The company capped free sessions at 50 people, and Yorkovsky said while there were a few no-shows, a majority of those selected to receive a free session followed through. Though the company is still waiting on full results, Yorkovsky said the campaign led to several people converting their free session into full subscriptions.

“They leveraged the taste that they got from the campaign and stayed after for a longer time period,” he said. “People saw that opportunity and seized it.”

OurRitual’s investors were also “very happy seeing us at the forefront and as a brand that is recognized and that other brands want to partner with,” Yorkovsky said.

OurRitual promoted the giveaway primarily on its own social media alongside Neon and the actors’ own accounts, and it didn’t dip into paid media. Yorkovsky said he felt it resonated even without any ad dollars because it supplied the audience with something they actually wanted.

“When something provides value, it works regardless,” he said.

This isn’t OurRitual’s first time working with Hollywood behind the scenes: it already has an existing relationship with the Showtime show 

, as the show’s host, Orna Guralnik, also holds the company’s chief clinical officer role. But this campaign was the first time OurRitual had partnered with a movie studio, and Yorkovsky said he’s gotten the itch to see what else is out there in entertainment partnership–land.

“We have our general collaboration agenda, which is mostly around influencers in the space of mental health,” he said. “This was kind of a surprise and a very ad hoc one, but it gave us an appetite to do more things…in a similar way.”

Amid a sea of several summer horror releases, 

’s unexpected offerings have also prompted some fans to recognize Neon’s broader marketing approach. As one Instagram commenter put it, “Every time I think the marketing team can’t keep this up, you all deliver. Kudos to the whole team.”

The film, which hit theaters on July 30, has so far raked in more than $21 million at the box office, according to Box Office Mojo

A movie still from the movie Together starring Allison Brie and Dave Franco with their foreheads touching.

Why OurRitual offered free therapy sessions to “Together” ticket-holders

OurRitual partnered with the Neon film “Together” to provide free therapy sessions to fans in a stunt that felt “crazy enough that it might work,” a marketing exec said.

Why an online couples’ therapy service got involved with a buzzy body-horror movie

Theaters aren’t just places to see movies—they can serve as a place for fans to gather, hang out, and build community.

That’s part of the reason why BoxLunch partnered up with theaters ahead of the release of 

Ahead of the release of the film, the merchandise brand, which sells movie-themed merchandise collections in stores and online, partnered with Fandango to offer free movie tickets to BoxLunch customers who spent $100 or more in-store, as well as free exclusive collectors’ pins during opening night at Regal Cinemas nationwide.

BoxLunch also showed up on the ground at San Diego Comic-Con in July to connect with fans and local residents while handing out free tickets to a screening at Regal.

Rick Vargas, SVP of merchandise and marketing, told us the activations were designed to showcase BoxLunch as a brand and create excitement around a major movie launch, but it didn’t end there. The brand has a longstanding partnership with the nonprofit Feeding America, where every $10 spent with BoxLunch helps donate a meal to food banks in the Feeding America network, and the goal, Vargas said, was also to emphasize the importance of building relationships with consumers in local communities.

“At the end of the day, we’re about giving back to the community, and specifically, giving back to your community, wherever you are,” Vargas said.

Though BoxLunch has been to SDCC before, working with a local Regal theater this year allowed the brand to demonstrate its ability to connect with audiences and be part of the hype around 

“Because of all of the excitement around the film, this [was] a great opportunity for us just to say ‘Hey, we feel the energy. We want to be part of this,’” Vargas said. “Let’s go and create an experience for our fans and get them into the movie theaters and really showcase the film and showcase what BoxLunch can do and how important it is for us to support the fans.”

At BoxLunch activation on the ground at SDCC, all available tickets were given away within two minutes of the brand’s announcement on its social media channels, Vargas told us. The brand announced several ticket drops throughout the day at different locations around SDCC via its Instagram Stories, and interested fans had to follow along for location reveals.

BoxLunch is nearing its 10-year anniversary, but as a still relatively new brand, Vargas said being on the ground at events is a key part of integrating the brand into pop culture and connecting with fans.

“We need to be there. We need to make sure that we understand what the fans are excited about, even beyond what we did with 

” Vargas said. “We go and we ask the customers, ask the fans, ‘Hey, what are you guys excited about?’”

BoxLunch’s partnership with Fandango continues through mid-August, and Vargas said the brand will continue to lean on social media, email, and in-store messaging to communicate its commitment to fans and philanthropy. So far, BoxLunch has been tracking engagement with social posts on its own channels, Fandango’s, and its theater partners to gather feedback on the campaign, as

well as seeking feedback from consumers in-person.

“With these relationships, we’re seeing consistency post release, where we keep the customers engaged with the film, we keep the customers engaged with the content,” Vargas said. “They’re just as excited this week as they were during the release week, which is atypical.”

Connecting the BoxLunch message to a theater audience was natural, and after 

leaves theaters, Vargas said there’s still more he’s hoping to explore in terms of winning over in-theater audiences.

“There’s still a lot that we can do going forward in terms of working more closely with the theaters, so they can also kind of amplify what we're trying to do [with Feeding America],” Vargas said. “But I think getting the folks into the theaters, into the stores, to tell that story and to kind of showcase the impact that customers can have to their specific communities is really important."

A composited image of screenshots from BoxLunch's Instagram, including cosplayers dressed as superheroes being interviewed.

Why BoxLunch teamed up with Regal ahead of ‘Fantastic Four’ 

 The 10-year-old fan merch brand gave away tickets and collectors’ items  as it emphasized  giving back to the community, an exec told us.

Hunter Ellenbarger didn’t teach Logan Lerman how to talk like an internet girlie—but when Lerman uttered the words, “Girlie, that’s a hard no. Mama, no,” during a video shoot to promote the movie 

Ellenbarger knew he had social marketing gold on his hands.

Ellenbarger is the founder of Star Quality, the design practice and consultancy behind some of the social assets in the online campaign for the Sony Pictures Classics film, a romantic comedy starring Lerman alongside Molly Gordon that premiered in late July. Working alongside Sony’s in-house marketing team, Ellenbarger and his team handled creator partnerships and creative shoots, producing five longform videos for Sony’s YouTube as well as various short-form cuts and paid social ads.

While filming one of these longer interview-based videos, Lerman began speaking in internet, which Ellenbarger identified as a perfect moment to cut into an ad to prompt viewers to buy tickets to the film. That kind of tongue-in-cheek humor, which often hits best with online audiences, brought in more than 350,000 views on a single organic X post; Ellenbarger said the video ended up being one of the film campaign’s better performing pieces of content. The video is emblematic of Ellenbarger’s approach to marketing, which he describes as balancing the highbrow with the lowbrow.

“[My approach] puts the talent, who are these Hollywood stars that people have grown up with, are seeing on acclaimed TV shows, and it makes them more peer to peer, which is how we consume TikTok creators,” Ellenbarger said.

Star Quality began working with Sony Pictures Classics during its campaign for the black comedy 

in 2023, where Ellenbarger worked on exploring new creative formats for paid ads outside of trailers and teasers. When 

 came around two years later, he was called on once again to create bespoke ads for social designed to stand out from the crowd of film marketing online.

“We always filter our ideation process through, ‘What do we want people to understand about this movie?’” Ellenbarger told Marketing Brew. “I always have this philosophy of, think like a fan.”

meant focusing less on typical promotional material, like the actors’ preparation process, and more on interpretations of the film’s big themes, like creating an anonymous hotline for those with dating advice questions, which actors answered on screen. Ellenbarger finds inspiration from internet series that have already seen success, including 

both of which follow easily identifiable formats.

Leading creative ad shoots aimed at online success requires a level of buy-in from the talent, Ellenbarger said, and he said that the level of enthusiasm to expect from actors or musicians varies across projects. But it’s always a positive when A-list talent is willing to participate in his ideas.

“Everyone’s a little bit different. It depends on how they want their own personal brands to seem,” he said. “But I think the [artists] that I’ve noticed be more successful as far as returns at the box office or album sales…are the ones that are a little bit more down to play the game.”

Ellenbarger found the cast to be particularly game for his “more playful, silly ideas,” and the film went on to score a top 10 box office debut weekend at $1.15 million, which he said felt like a win considering that the limited release went up against major franchises like 

Beyond social videos, Star Quality was responsible for what Ellenbarger calls “creator matchmaking,” which involves finding and commissioning influencer partnerships for sponsored content.

partnered with comedian Hannah Esky and the popular Instagram account @afffirmations. Esky, known for what Ellenbarger described as “unhinged tarot readings,” made 

 in her signature style touching on plot points from the film without giving anything away; @afffirmations also created a 

 mirroring its general post format featuring stills from the movie and red carpet images of Gordon and Lerman.

“[It’s] less like mechanical influencer marketing and more like brand influencer marketing,” Ellenbarger said of his partnership process.

To find the right creator partners, Ellenbarger said there’s no secret sauce or perfect tool. Instead, he said it comes down to “having really high screen time” and “rabbit hole-ing a lot.” As creator partnerships continue to be a major segment of Star Quality’s work, he’s looking to hire people who understand the internet the way he does—the kind of person who maybe used to run a Tumblr fan blog or can help craft the next viral TikTok sound.

“That’s the type of internet user that is going to find the right people that will actually move the needle,” Ellenbarger said.

Two people at a table covered with a white tablecloth, they're both holding the receiver of a red corded phone.

 Inside the social campaign for ‘Oh, Hi!’ 

Hunter Ellenbarger’s boutique agency Star Quality led the charge on some of the indie film’s most resonant social assets.

 Inside the lowbrow/highbrow approach powering the ‘Oh, Hi!’ social campaign

Kelsey Sutton

Each week, we spotlight Marketing Brew readers in our Coworking series. If you’d like to be featured, introduce yourself 

Mayte Alquicira is marketing and operations manager, loyalty, at Cinépolis Cinemas USA, a luxury theater brand. She’s also worked as the brand’s guest experience manager and supported the brand’s expansion into international markets.

How would you describe your job to someone who doesn’t work in marketing? 

I help create emotional connections between moviegoers and our brand. My role is all about designing the journeys, from first visit to lifelong loyalty, that make people feel seen, valued, and excited to come back. It’s part storytelling, part strategy, and part data detective work.

Redesigning and upgrading our Cinépolis Rewards program. We took a deeply customer-centric approach grounded in data but brought to life through storytelling and emotional connection. It wasn’t just about points and perks; it was about building a loyalty experience that felt personal, rewarding, and human. The most fulfilling part? Seeing members reengage because the program finally spoke to what they actually value.

. It’s such a bold example of creative crossover: two seemingly unrelated brands coming together in a way that just works. That kind of surprise-and-delight moment is the best proof that when you understand your audience and have a smart creative team, the possibilities are endless. It’s the ultimate flex of efficient, unexpected brand synergy.

One thing we can’t guess from your LinkedIn profile: 

I’m a certified yoga instructor! Yoga keeps me grounded and teaches me to approach challenges with curiosity and compassion. I’m currently building an online yoga studio that blends movement with mindfulness, especially for people navigating busy lives.

What marketing trend are you most optimistic about? Least? 

I’m most optimistic about AI and personalization. When done well, it creates space for more relevant, thoughtful interactions that genuinely improve customer experience.

But I’m least optimistic about AI when it replaces rather than enhances the human touch. Brands risk becoming robotic and indistinguishable if they lose the heart behind the message. Efficiency shouldn’t come at the cost of emotional connection.

What’s one marketing-related podcast/social account/series you’d recommend? 

 on Instagram. It’s a quick-hit inspiration board for marketers. I also like the podcasts 

 with Guy Raz, which features real stories of entrepreneurs and the power of brand-building, and 

 with Robbie Kellman Baxter—I’m fascinated by subscription models, and this one’s full of insights. And while not directly a marketing podcast, 

 by NPR offers an incredible lens into how audiences perceive media—a great resource for anyone in entertainment marketing.

Marketing Brew Coworking series featuring Mayte Alquicira.

Coworking with Mayte Alquicira

She’s marketing and operations manager, loyalty, Cinépolis Cinemas USA. 

 are supposed to be there to find love, so when drama emerges, they’re often asking: Is this person here for the right reasons?

The better question might be: Have the right reasons evolved?

For many reality show contestants, the biggest benefit of appearing on unscripted television isn’t to walk away a winner, but rather to use their raised profiles as a launchpad for their personal brand, according to Tamika Rose, director of campaign management at talent agency Kensington Grey.

“I don’t know if everyone will find love on a [reality show], so there has to be some form of understanding that you will have additional benefits of being on a show like this,” Rose told us. “Approaching it that way is normal at this point. I think people should capitalize on the opportunity that they’re getting.”

And capitalize they are. Hannah Brown, who first competed on Season 23 of 

is the most followed former contestant from the Bachelor franchise, reaching 2.7 million people on Instagram; an AT&T Savings 

 from 2020, after Brown starred in her own season of 

, estimated that she averaged between $5,260 and $8,767 per sponsored Instagram post. Meanwhile, 

Leah Kateb boasts 4.6 million Instagram followers; according to an estimate from creator platform Hafi.pro, she brings in more than $100,000 a month from sponsored social content.

contestants like Season 1’s Aïssata Diallo and Season 2’s Justine Joy Ndiba, has helped create social media careers lasting beyond the immediate hype wave of a season and connected brands to creators for years after the bombshell leaves the villa. While she said that crafting a resonant personal narrative is key, there’s a lot more to it, she told us. Here’s how she gets it done.

Rose encourages reality contestants to begin working with a creator agency far before an onscreen introduction to legions of TV fans.

“Please seek out representation even before you go on the show,” Rose said. “Or after the show, make sure your inbox is open and you’re looking for somebody to help represent who you are now that you have millions of followers.”

In Rose’s experience, some reality show cast members may not be well-versed in the influencer world and sometimes don’t know how to navigate issues like rates, content ownership, or contract negotiations, which can put them at a disadvantage. Management firms can often provide the expertise that newer influencers might otherwise lack, she said.

Once representation is secured, Rose said understanding the client’s personal story is key to laying the foundation for a sustainable creator career, she said. This can look like doubling down on aspects of their personalities that resonated onscreen or introducing new categories of content they’d like to produce.

’s most recent breakout star, Huda Mustafa, who came to the show as a fitness coach. If Rose was working with Mustafa—or someone with a similar background—she suggested leaning into fitness as an area of interest.

“[After the show], we’re looking to see who the biggest names within that industry are, and how can we align her with that?” Rose said. “If…her audience actually resonates really strongly with that, then we’d continue to make that a strong pillar for her.”

That’s not always the case. In the case of Diallo, from Season 1, new fans might have learned about her for the beauty-and-bikinis branding core to the show—but Rose said she helped Diallo pivot, instead elevating Diallo’s personal connection to her religion and leaning into more “modest fashion.”

Rose said the shift helped Diallo defy fans’ expectations, and Diallo said it was necessary for her broader career ambitions.

“My goal was not to be known for being on reality TV, so I knew I had to shift the narrative,” Diallo told us. “I knew that I wanted to brand myself in a way that the brands that I will potentially work with are only elevating my storytelling and speaking to my audience.”

In the reality-to-influencer pipeline, timing can feel like it’s everything, but Rose believes intentional brand partnerships are often more crucial than speed.

“Timing is important, but we want to make sure that whatever the partnership is, it’s very intentional, and it has a long-term brand perception,” Rose said. “We would most likely look to make sure that we catch momentum, but we are not sacrificing the integrity of that creator or their platform.”

Inside the reality-TV-star-to-influencer pipeline 

Talent agency Kensington Grey has worked with alums of ‘Love Island’ and other unscripted hits to turn their moments in the spotlight into lasting business.

Where to place an ad featuring movie star Timothée Chalamet? Why, at the movies, of course!

star, beloved among Gen Z, partnered with Cash App for a cinematic, two-minute-long ad spot that is playing in movie theaters across the country this summer. The ad, which also features 

 actor Izaac Wang and explores intergenerational attitudes toward money, is Chalamet’s latest brand deal after working with luxury brands including Cartier and Chanel.

Cash App specifically chose to run the spot before showings of 

during its opening weekend, with no other fanfare or official announcement—making the ad feel, for one weekend, almost like a gift for particularly devoted Timmy fans, who took to social media to express their excitement about his unexpected in-theater appearance. The ad will also air before showings of 

While the spot is now appearing on Cash App social channels and is being 

 on Chalamet’s own social media accounts, playing in theaters was key to the brand’s strategy to land with its core Gen Z and millennial audience, Catherine Ferdon, Cash App CMO, told us.

“What we really wanted to do was intentionally stoke interest and curiosity by showing up in those unexpected formats,” she said.

To create the spot, Cash App worked closely with Chalamet as well as director Aidan Zamiri and writer Elijah Bynum, both of whom have collaborated with Chalamet before. The aim, Ferdon said, was to incorporate the actor’s unique creative lens into financial messaging. As an actor who has “specific resonance” with Gen Z and millennials, she said, his involvement was key to creating a campaign aimed at challenging the expectations that young audiences might have of a finance app.

“We really wanted to do something that gave us the flexibility to elevate our brand storytelling and emotion,” Ferdon said. “It was very important to us that we did not want this to look like a traditional financial services ad.”

 the company has worked with of-the-moment talent. Past partnerships include Kendrick Lamar and SZA, Doechii, Ramy Yousef, and others, all of whom Ferdon said were selected for having a personal connection to the brand and having “unique, engaged fan bases.”

Going the movie-theater route was also key to targeting its younger audience, Ferdon said, because “one thing we know is that Gen Z in particular loves going to the movies.” A report from National Research Group backs this up: attending a movie’s opening weekend is the No. 1 preferred activity for those ages 10–24, according to UCLA’s Center for Scholars & Storytellers 2024 Teens & Screens report.

Opting to run the spot before showings of 

on its opening weekend was designed to help stoke excitement and conversation among movie fans and those who are particularly excited about Chalamet’s work, Ferdon told us.

“[It] was really an onslaught of online conversation from younger people who were really compelled to go out and see the latest flicks in theaters explicitly because of this sort of Easter-egg launch available only in theaters before anywhere else,” she said.

To further engage with fans, Cash App directly deposited $25 into certain Chalamet fans’ Cash App accounts to go see a movie—and of course, the ad.

As it continues to roll out, the campaign will also include targeted OOH and shorter versions on CTV and social media, as well as limited-edition Cash App Card stamps featuring imagery from the spot.

Though the campaign was designed to go beyond the theater, Ferdon said this debut strategy allowed the cinematic nature of the creative to feel like a natural fit for audiences. “The long cut is a very artful, intriguing piece of work that sort of demands the full-screen, lean-in nature of cinema,” she said.

And though theater ads might not always be considered by marketers as the sexiest channel, the Cash App team sees it differently.

“Some people might look at media buys in cinema as a more traditional sort of practice of yesteryear,” Ferdon said. “But I think we have a perspective that it’s coming back in a big way.”

Timothée Chalamet poses in a grocery store set

Why Cash App took Timothée Chalamet to the movies

The financial services platform premiered a new spot featuring the movie star exclusively in theaters in an effort to reach Gen Z fans, an exec told us. 

These days, did a movie even come out if there wasn’t a several-month period when the film was embedded in just about every aspect of culture possible?

As Formula 1 fans geared up for the Brad Pitt-led blockbuster to hit theaters this summer, Apple made sure to remind them and newcomers alike of the film through OOH advertising, surprise Pitt-attended events, and—in a manner that only Apple could actually do—directly on their iPhones.

It’s a marketing blitz similar to what 2023’s 

 phenomenon created, but with its own Formula 1–specific advantages that got a big movie audience interested, said Lucy Markowitz, the general manager of US marketplace at Vistar Media, a T-Mobile-owned digital OOH company. The movie, which has already outpaced 

 as Apple’s top-grossing film, is projected to clear $400 million in box-office revenues this weekend, per Box Office Mojo.

“Everyone wants to be a part of something that’s no longer just a movie, [and] part of something that is bigger than just a two-hour film,” she said. “That is partially created by all the buzz that goes around a film. You need social media and paid media in order to fuel that fire. It’s not just gonna happen on its own.”

It was lights off and away we go for the 

marketing team much earlier than a typical movie campaign. The film’s first teaser trailer dropped during the British Grand Prix in July 2024, almost a year before opening weekend, and a significantly longer lead time than the 

 four to six months before a regular movie premiere.

“The idea was to have something where you have a global audience already tuning in, but then you’re also playing up the mark of that calendar, [and]...being really prescriptive,” Markowitz said. “In a way, it was almost like [creating awareness] for another race that was coming up, almost organic in a lot of ways, versus it being [for] a movie about an industry.”

While the yearlong timeframe isn’t the norm, 

 isn’t the only film to try and build hype so far in advance. Christopher Nolan’s 2023 box office hit 

in theaters, released a teaser in theaters nearly 365 days before opening weekend, as did 2015’s 

. Most recently, Nolan’s latest project, 

took it a step further, releasing IMAX tickets a year before the film is set to hit theaters. (Those tickets are now, impressively, sold out.)

In the time between teaser and film release, the 

 team continued to emphasize the film’s authenticity to the real Formula 1 experience, a tactic that Markowitz said helped connect with more potential viewers and made the film feel like a cultural phenomenon. The movie touted its expert involvement, with real-life F1 driver Lewis Hamilton getting a producer credit, and noted its commitment to creating actual race footage rather than using CGI, as well as holding on-location shoots at real F1 races. Pitt also became a walking billboard in the same way many actual drivers are, sporting real brand sponsorships on his costume from companies like Expensify and Mercedes that brought in an estimated 

But in perhaps the most personal of strategies, Apple also used its tech empire to 

 reminders into everyday lives via people’s phones. There were race-location highlights in Apple Maps, ticket discount notifications sent via the Wallet app, and a special haptic engine-powered version of the trailer in the Apple TV app. Though the integrations were creative, Markowitz said, they received mixed reactions because of the potential for feeling invasive.

“In a lot of ways, I think this was a test,” she said. “I do think this was to get a gauge on the perception, and I do think that from there, [Apple will] continue to augment how they think about reaching people.”

’s efforts added up to a buzzy box-office opening, totaling $144 million globally and marking the biggest opening of Pitt’s career, according to studio estimates 

But was all that hoopla really needed to convince theatergoers to attend? Some theater experts said yes, especially as studios look to appeal to younger audiences.

Manu Singh, chief data and innovation officer at National CineMedia, told us that theater audiences in the 18–34 demographic are particularly interested in making a trip to the movies feel like an experience. That tracks with something Bloomberg Intelligence analyst Kevin Near told us earlier this summer: the more of an event a movie seems to be, the more motivation an audience has to go see it in theaters, rather than wait for it to come to streaming.

, it seems the more eventized a film becomes, the better chance at success it could have.

For Apple, a moneymaking theater run isn’t the only kind of success it’s likely interested in, since 

 is set to make its way to Apple TV+ for a streaming run following its theatrical window. It’s also reportedly in the running to 

 the US TV rights to F1 starting in 2026, with the film serving as a potential scale-tipper.

Markowitz said this next phase of the viewing experience could pave the way for even more marketing to come from Apple, and allow for more opportunities for other brands to get involved, especially with the rest of the real Formula 1 season still going on.

“This is sort of the beginning,” she said. “Who else will want to be a part of this?”

Damson Idris and Brad Pitt in a scene from F1 The Movie. 