Move over, Barbenheimer; there’s a new cinematic buzzword in town: Glicked. With the simultaneous release of Wicked and Gladiator II, 2024 is shaping up to be another watershed moment for blockbuster filmmaking—and marketing.
While the term Glicked might not have achieved the same viral traction as last year’s Barbenheimer, both films have captivated audiences, sparking debates, fan theories, and countless memes.
With both Gladiator II and Wicked hitting screens last month, the stage was set for a cultural showdown. But what exactly is fueling the hype, and how can film marketers learn from the marketing genius behind these films?
To answer these questions, B&T sat down with Mikayla Hopkins, head of marketing at Tracksuit, to get the insider’s perspective on how these cinematic events are capturing the zeitgeist and reshaping film marketing.
Why The Hype?
The hype, Hopkins explained, comes from the foundations and incredibly loyal – albeit it very different – fan bases behind both films.
“Wicked and Gladiator are two movies that have dedicated fandoms, which starts them both off on a strong footing. However, the release of both these movies at the same time has also created a sense of friendly competition, sparking debate about which will be the biggest box office success and keeping them at the forefront of many cultural conversations,” Hopkins explained.
This sense of competition has been fueled by media coverage and fan debates, with critics and moviegoers eagerly predicting which film will dominate the box office overall.
“This friendly sense of competition mirrors what we saw with ‘Barbenheimer’ last year, where much of the hype revolved around the ‘battle’ between Barbie and Oppenheimer, which would penetrate the cultural zeitgeist more”.
“While Wicked and Gladiator haven’t quite reached ‘Barbenheimer’ levels of success, they have certainly tried to tap into the same trend with movie fans and critics coining the ‘Glicked’ phrase from early on”.
Painting The World Green (with a touch of Pink)
When it comes to marketing, Wicked has been nothing short of a masterclass in creating a cultural moment. From branding subway stations to illuminating landmarks in green, Universal Pictures left no stone unturned.
One standout moment was the Australian premiere in Sydney, where Market Street was transformed into a Munchkinland-inspired wonderland.
“The brilliance of Wicked’s campaign lies in its ability to merge nostalgia —rooted in the beloved 2003 Broadway musical — with modern, data-driven strategies that resonate with today’s audiences. Beyond their use of social media as a distribution channel, the film’s use of immersive experiences, from branding subways to renaming Greenwich ‘Green Witch’ and illuminating global landmarks, reminds us that marketing isn’t just selling — it’s about creating something for people to belong to,” Hopkins explained.
Universal also leaned heavily on its star power. Ariana Grande and Cynthia Erivo, who play Glinda and Elphaba, have been at the forefront of the campaign, with their friendship providing a heartwarming narrative.
Social media played a pivotal role in amplifying these activations and campaigns to a global audience, but as Hopkins explained, celebrity endorsements and huge global tours are most certainly not new tactics for the film industry, we just have a greater access to them nowadays.
“Social media brings a lot more eyes to these marketing moments, helping audiences feel more engaged whether they can be there in real life or not. If you ask me, it’s more about the channels that are being used and undoubtedly, social media is becoming an essential platform,” said Hopkins.
“Seeing behind the scenes of a red carpet as you scroll your feed, or your favourite influencers making their way to the movie premiere, drives the perception of this being a cultural movement. The more it shows up on your feed, the more you don’t want to miss out. If we keep seeing similar instances to Barbenheimer and Glicked, having this real time access may become the consumer expectation”.
The result? A record-breaking $164 million global opening weekend, making Wicked the highest-grossing film adaptation of a Broadway musical to date.
Gladiator II: Nostalgia Meets Modernity
Gladiator II, on the other hand, took a more understated but equally effective approach. Paramount Pictures tapped into the legacy of the original Gladiator while modernising the narrative for today’s audiences.
“Creating a sequel, prequel or remake can be tricky, especially when the original is considered a cult classic. It’s important to not seem like a cash grab, alienating the fans of the original but also ensuring it’s appropriate for a more modern audience. However, if you play your cards right, the level of hype that can be created from both audiences can be massive, which is what we’re seeing with Gladiator II,” Hopkins explained.
“Paramount Pictures has done a great job from a promotional standpoint, striking a balance in keeping the harsh nature of the original film but with a modern twist”.
Casting Paul Mescal as the lead was a particularly savvy move. “Casting Mescal, who is well-known – but not an out-and-out Hollywood star – was a fantastic move and is very similar to the casting of Russell Crowe in the original version. Both actors are respected in the film industry but not exactly household names. The creators of James Bond follow a similar formula, which adds an air of mystery to the main protagonist’s portrayal,” said Hopkins.
The film’s marketing campaign also included strategic partnerships, most notably with Pepsi’s NFL season kickoff campaign. Featuring Megan Thee Stallion and Travis Kelce, the campaign introduced Gladiator II to a broader audience.
“From a classic marketing standpoint, the producers of Gladiator II tapped into wider cultural moments to help push the release of the film. Riding off the back of the NFL season kickoff gave them the chance to feature in front of a whole new audience,” Hopkins explained.
Turning Movies Into Moments
Both films demonstrate the power of turning movies into cultural events. Hopkins explains that the key to creating this kind of impact is finding what makes a film relatable and appealing to a broad audience and leaning into it wholeheartedly.
“Movies like Barbie have created a gold standard in using film marketing to create a global cultural moment, and it isn’t the easiest to replicate. So yes, I think it will continue to become more popular but it is a chicken and egg situation: is the macro cultural moment the film is tapping into the first consideration, or a second priority once a concept is finalised and production is underway? In order to gauge success and resonate with a broad audience, the industry needs to consider and research this earlier in the piece”.
The key, she explained is also about identifying what makes a film’s brand identity unique and amplifying this. “Can you own a particular colour and saturate channels with it so that is a key identifier? For Barbie, it was pink, with Wicked it is green. But it doesn’t have to be a colour; it can be anything that feels true to your movie and distinctly sets it apart. You can use it repeatedly across multiple channels so it builds up memory structures in people’s minds,” Hopkins said.
Hopkins also sees a growing role for social media and influencer marketing. “The film industry would do well to continue to maximise brand collaborations, give fans behind-the-scenes looks on social media into the stars and the storyline so they feel more connected, tap into areas of culture beyond the film, such as soundtracks and fashion, and exhaust all the channels available to them to ensure they’re having as many touchpoints with consumers as possible”.
“The way marketers approach how their brand or product performs will also evolve. Performance has always typically been measured by numbers, like the box office. We’re nearing a revolution where consumer consideration and brand sentiment will begin to become equally as important as sales metrics,” said Hopkins.
For now, audiences have two spectacular films to enjoy. Whether you’re Team Wicked or Team Gladiator, one thing is certain: the Glicked phenomenon, like the Barbenheimer phenomenon before it, has redefined what it means to market a blockbuster.
