Blockbusters

Anita  Elberse

Book | 2013

Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment

Abstract

What's behind the phenomenal success of entertainment businesses such as Warner Bros., Marvel Enterprises, and the NFL—along with such stars as Jay-Z, Lady Gaga, and LeBron James? Which strategies give leaders in film, television, music, publishing, and sports an edge over their rivals? In this book, drawing on my case studies and other research on the worlds of media and sports, I explain a powerful truth about the fiercely competitive world of entertainment: building a business around blockbuster products—the movies, television shows, songs, and books that are hugely expensive to produce and market—is the surest path to long-term success. Along the way, I reveal why entertainment executives often spend outrageous amounts of money in search of the next blockbuster, why superstars are paid unimaginable sums, and how digital technologies are transforming the entertainment landscape. Full of inside stories about some of the world's most successful entertainment brands, Blockbusters is aimed at anyone seeking to understand how the entertainment industry really works—and how to navigate today's high-stakes business world at large.

Keywords: entertainment; business; strategy; media; Sports; Digital technology; blockbuster; superstar; film; television; music; publishing; performing arts; nightlife; Risk and Uncertainty; Technology; Marketing Strategy; Music Entertainment; Success; Sports; Business Strategy; Film Entertainment; Television Entertainment; Music Industry; Fine Arts Industry; Entertainment and Recreation Industry; Publishing Industry;

Format: Print

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Citation:

Elberse, Anita. Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment. New York: Henry Holt and Company, 2013.

In June 2016, Dwayne ‘The Rock’ Johnson is planning for the upcoming launch of an endeavor that is a first for a Hollywood actor with superstar status—a digital channel. The channel (named “Seven Bucks Digital Studios”) will be a new part of film and television production company Seven Bucks Productions, which Johnson co-owns with his business partner and former wife, Dany Garcia. Under Garcia’s guidance, Johnson has made a successful transition from being a top wrestler with World Wrestling Entertainment to also climbing the ranks in Hollywood, becoming one of its most bankable and highest-paid actors. The two stand out for pursuing an ambitious slate of projects as producers as well, making Seven Bucks Productions a force to be reckoned with in the world of entertainment. Are Johnson and Garcia right to bet on a new digital channel, which is scheduled to make its debut on YouTube in the next month, and do they have the best approach to making that channel a success?

Kara Medoff Barnett, executive director of American Ballet Theatre (ABT), widely regarded as one of the world’s premier ballet companies, faces several challenges. It is June 2018. Despite its prestige, the company’s $45 million annual budget and $22 million endowment are far below those of peers like New York City Ballet, Paris Opera Ballet, and The Royal Ballet in London. Also, although those institutions rely heavily on talent developed in-house, ABT has traditionally mostly attracted dancers who had been trained elsewhere. Known for having featured some of the world’s most high-profile stars, ABT’s biggest current star arguably is Misty Copeland. What can Barnett learn about Copeland’s rise to fame that could help her have ABT’s other dancers’ stories resonate? Looking to the future of the ballet company more generally, how could Barnett promote a “constellation of stars,” as she puts it, rather than bank on one or two individual superstars? And what is the right balance for ABT between developing and acquiring talent?

“Our goal is to be the kind of start-up that would terrify Nike—if Nike didn’t already own us.” Ron Faris, general manager of S23NYC, a Manhattan-based digital studio owned by sports apparel giant Nike, is on the phone with Adam Sussman, Nike’s chief digital officer. It is June 1, 2018. Two years earlier, Sussman was behind Nike’s push to acquire Virgin Mega, a startup comprising Faris and his small team, which has since morphed into a studio that plays a pivotal role in Nike’s digital strategy. With the studio’s mobile app, SNKRS (pronounced “sneakers”), specifically, Nike seeks to strengthen its connection with the most fanatical of its fans—the sneakerheads—and “bring back the fun and emotion of buying,” as Sussman put it. Is Nike on the right path with its digital strategy and, in particular, with how it seeks to change the sneakers game and compete with rivals such as Adidas and Puma? Does it make sense for the company to pursue the kinds of innovations featured in the SNKRS app? And what kind of campaigns and activations should it prioritize in the future?

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Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment

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