Movies and TV shows are expensive. To be viable investments, they need to turn a pretty sizable profit. To make that money, they need to make people aware of TV and movies. This is where advertising
comes in: billboards, television and radio commercials, interviews on talk shows, etc. Without these things, many people simply don't know a movie exists. This is how tickets get sold, and why people tune in at prime time.
Sometimes, however, the studio or network just doesn't think it's worth the bother. Figuring that the money is going down the drain anyway, they simply slip the work into theaters, into its timeslot, hoping that it will just quietly go away, and they will have fulfilled their legal obligations. So the movie does get released, and people who know about it can find it and see it. But the studio doesn't make it easy. These are cinemae non gratae
This often happens when Executive Meddling
slams headfirst into a creator who really, really wants to create the work he wants without interference, but is too green to have Protection from Editors
On TV, this is one part of being Screwed by the Network
. These are frequently Not Screened for Critics
. Those who actually liked them will be the ones who Keep Circulating the Tapes
. Compare to Never Trust a Trailer
, when a work is intentionally mismarketed.
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Anime & Manga
- Before the Toonami revival, [adult swim] was largely ignoring most of the Saturday block of anime. They'll advertise Bleach (their biggest show according to ratings) for a couple weeks when a new season is coming up, usually while it's on reruns, and they'll usually advertise a new show to the lineup for a few weeks before it debuts, then goes on to advertise anything that isn't anime. Code Geass and Seirei no Moribito were greatly ignored when they premiered.
- Toonami has gone to good lengths to avoid this from ever happening again. Anytime the schedule is updated, a whole commercial to advertise the entire lineup. The commercials air at all times, during Cartoon Network's, Adult Swim's and Toonami's own broadcastings. Even beyond that, more popular series like Bleach, Naruto, and Space Dandy are given their own advertisements.
- After lukewarm ratings for the first season of IGPX, Cartoon Network decided to move the show to Friday at Midnight, with little to no ads detailing the change of the schedule.
- In 2007, .Hack//Roots was aired on Cartoon Network at Saturday morning at 4:30 AM EST. The only way anyone even knew it was airing was because someone noticed it listed on the scheduling and started to tell the internet about it. It wasn't even given a "Coming Up Next" bump like the network often announces for all its programming.
Film - Animated
Film - Live Action
- Big Trouble was delayed due to the events of 9/11, and then given an untrumpeted release when it became clear that if they waited for 9/11 to blow over, they'd all be dead before they could release it.
- Harvey Weinstein is pretty infamous for this.
- The Boondock Saints. Granted, it was kinda justified (released around the same time as the Columbine massacre).
- An early effort by Sam Raimi and The Coen Brothers, Crimewave, a sort of slapstick gangster spoof was met with disastrous results when screened for audiences, and was released only in five theaters across the states. The VHS was long out of print by the time it finally received a DVD release in 2013.
- The 2008 feature film The Midnight Meat Train. Based on the short story by Clive Barker and directed by Japanese cult favourite Ryuhei Kitamura (Godzilla Final Wars), the movie is a complete and utter bloodbath with the built-in typical horror movie demographic, and it didn't have a terribly high budget. What happened? The company that was releasing it, Lionsgate, switched management while the film was nearing completion. Rather than continuing his predecessor's work and fulfilling the obligations, the new exec shunted the film into a handful of cheapo dollar theaters, without a whit of advertising.
- You think that's bad? It was Kitamura's first American film, and in interviews he had indicated that he wanted to switch to making films in America permanently, despite being quite bankable in Japan.
- Averted and played straight with Zyzzyx Road: It played briefly in a theater to get around a pay scale loophole, inadvertently getting attention as the lowest grossing film in history.
- The film was released to DVD internationally later in 2006 as intended, earning over 10,000 times its box office receipts (not that high bar to jump through as the receipt was $30—which the director personally refunded). However, it still hasn't been released domestically and hasn't made back it's $2,000,000 budget by foreign sales alone.
- The Mystery Science Theater 3000 movie. The studio behind it, Gramercy Pictures, put everything into advertising the Pamela Anderson film Barb Wire - which, to add insult to injury, didn't sell very many tickets.
- MirrorMask barely turned a head on its cinema run. Consider the visual style of that film and you'll get some idea how heavily you have to bury it for no-one to notice it.
- George Lucas was afraid 20th Century Fox would do this to the original Star Wars film, a.k.a. A New Hope, so he secured the merchandising rights in the hopes that he could promote the movie if they didn't. 20th Century Fox happily handed them over, wondering why on earth he wanted the worthless merchandising rights instead of more money up front.
- Tom Laughlin, the director/star of Billy Jack, was able to win distribution rights back from the original company when he realized they were doing this. He then started one of the first examples of saturation advertising and made it a hit.
- Terry Gilliam's The Adventures of Baron Munchausen had only 117 prints made for the entire US distribution. Gilliam sourly noted at the time that minor arthouse films got 400 prints; the culprit was a regime change at Columbia Pictures.
- Thirteen is the theatrical example of this. It didn't have any television commercials, instead relying on a few print ads and internet videos.
- Slither. Universal hardly promoted the film despite its critical acclaim and later tried to blame the film's failure on the director for not making it more accessible.
- It happened again on the director's follow-up Super. After IFC spent over a million to buy the rights, they sat on it and only released a trailer four weeks before opening. Other than a few posters, there was almost no marketing on the film and it died in limited release (also some theatres won't play it due to it being unrated, as the director and studio expected an NC-17 rating). Basically, James Gunn seems to be a lightning rod for this trope.
- Let Me In got this due to a distributor change less than three months before release (Relativity Media bought original distributor Overture for their distribution outlet). Rather than give an ad campaign given to most wide releases, Relativity spent most of its money promoting the movie it was facing that weekend, The Social Network (which was co-financed but not distributed by them) while the studio was completely quiet about the film (it wasn't even mentioned on Relativity's website while The Social Network was). The film grossed only $12 million.
- Dimension Films was notorious for doing this, films like Venom, Texas Rangers (which was inexplicably shelved for over a year) and DOA: Dead or Alive were given very limited releases with virtually no advertising whatsoever.
- Twice Upon a Time was given an incredibly limited release, aired once on HBO and twice on Cartoon Network, then disappeared from the public entirely, despite support from George Lucas and Henry Selick.
- Fox barely marketed The Big Year (only putting out a trailer a month before opening and having very little television exposure) despite having three big names in the cast (Steve Martin, Jack Black and Owen Wilson), an established supporting cast and a director whose last two films grossed over $100 million. Also, the marketing hid the film's entire plot (three men on a year-long birdwatching journey, which was based on a non-fiction book).
- Fox is rather infamous for this. Some examples include:
- Tigerland: Zero advertising.
- Ravenous: Very little advertising which also mismarketed it as a teen-oriented horror film.
- Idiocracy: Zero advertising (Of course, given that it was on the contractual-minimum six screens nationwide, almost any ads would have been a waste of money).
- Intentionally invoked by Paramount for Brain Donors to sink the movie after the Zucker brothers left the studio before its release.
- This trope also affected The Way, an indie film by Emilio Estevez. It was to the point that the director's father/star Martin Sheen went on various talk shows to drum up publicity.
- Paramount basically did this to Not Fade Away, a drama about rock music from David Chase, the creator of The Sopranos. Released it into a crowded Christmas field (and expanding to 500 theatres two weeks later), there was almost no marketing or publicity done for it and the studio more or less swept it under the rug while heavily promoting long on the shelf fare like Hansel & Gretel: Witch Hunters.
- Another Christmas 2012 Paramount release that suffered for this was Cirque du Soleil: Worlds Away. Paramount only got it on about 800 screens in North America, screens that were shared with other movies; it managed only two showings per day at each venue. There was a trailer and a TV spot or two but no other promotional efforts, possibly because Paramount couldn't figure out how to promote a film that, while produced by James Cameron, had no name performers in the cast (it's a compilation of Cirque live show performances linked by an Excuse Plot). As well, Paramount may have been preoccupied not only with another production they opened that particular day, Jack Reacher, but also with wringing every last drop out of Dreamworks' Rise of the Guardians before the holiday season was over, as that film — aimed at the same family audience, but a far more expensive, heavily-hyped effort — was underperforming at the box office.
- Disney partially did this with Muppets Most Wanted: The Muppets conquered social media websites by force but peculiarly abstained from doing real life ads. As a Muppet fan pointed out, its release period rival Mr. Peabody & Sherman did the exact opposite with its marketing and proceeded to defeat underperforming Muppets at the box office, showing why you shouldn't put all your eggs in the Viral Marketing basket, especially if you're trying to reach a family audience. (That Muppets Most Wanted opened up against the Critic-Proof teen phenomenon Divergent AND that Disney had a blockbuster of their own to unleash just two weeks later really didn't help.)
- Speaking of Disney, while the failure of Return To OZ is often blamed on Nightmare Fuel that didnt sit well with the target audience (and not without reason), a lesser known factor was Michael Eisner taking over as CEO. The film, along with other projects championed by the former regime, got dumped into theaters with little advertising, save for reviews that criticized the darker aspects. While a few high-profile fans, such as Harlan Ellison, encouraged audiences to see it before it vanished, the film flopped as expected, putting an end to the directing career of Walter Murch.
Live Action TV
- The kiss of death of any series might as well be network promos for a night's block promoting a series with the line "Then after an all-new (show)..." with only a quick actor sweep or random scene without any context. Until it moved to TBS it was very prominent for American Dad! when Fox aired it.
- With American Dad! (or pretty much any "niche" show of that sort), it's just realistic to accept that the reason people aren't watching them is probably not that they're not aware of them.
- This is pretty much how Community was promoted when it aired on Thursdays:
Typical NBC Thursday ad
: The Office
is on! Office
! 30 Rock
is on too! Isn't that show awesome? A cool new episode of Parks and Recreation
is on too! And Community
is also on, but so is The Office
- [adult swim] ran a show called Paid Programming at 4:30 am on without any on-air acknowledgment. It's like it was specifically designed to confuse viewers. If that's the case, it worked. It still got more advertising then the program's creators wanted, as it was announced at a convention.
- The Paid Programming slot unleashed Too Many Cooks upon the world, though it took a gray-market YouTube upload to get it any traction.
- Kristin Chenowith's summer sitcom "Kristin" had few ads promoting it. It ended up Screwed by the Network after 6 episodes.
- Police, Camera, Action! and Police Stop! - which were barely advertised at the time. Ironically, the likes of World In Action, The Cook Report and Coronation Street got a mention. But they were still popular...
- Once Dollhouse started airing the second season, the only way to see any promos for the show were minutes before the episode aired.
- The WB was particularly bad about this for some shows. Jack & Bobby was hardly advertised at all until near the end of the season, by which point it was too late for the ratings to recover enough to avoid cancellation. For Your Love on the other hand somehow managed to last for 4 years despite rarely getting much in the way of advertisement.
- The US version of The Mole fell victim to cancellation at the end of Season 5 after ABC's marketing department did so little to promote the show that even many die-hard fans were completely unaware that the show had returned for the first third of the season.
- ABC did the same with Million Dollar Mind Game in 2011, which was thrown into their Sunday afternoon Pit of Doom to be killed by the NFL games on the other networks.
- German TV channel Pro7 had only a single trailer for the Doctor Who revival series and showed it a whole week before the premiere just once or twice a day in the afternoon. After that there was no advertising to speak of, they didn't even care to update their information page for the show when they changed the timeslot after a temporary cancellation. Many fans think that this killed the show.
- Top Gear one had an In-Universe example. The hosts are tasked with putting on an automotive-themed art show. Richard goes on the radio to promote the show and talks about several things... except the art show. Jeremy is listening and is not pleased.
- The 2002-04 Ford SVT Focus was developed by a special sub-division of Ford (that also made the Mustang Cobra and Lightning truck); exclusive marketing was part of the SVT image. It was available only through select dealerships, not included in the regular Focus full-line brochures or on the main Ford website, and SVT's relatively small ad budget mostly went to the more profitable truck and Mustang. People who owned it loved it, but many others who would have didn't know it existed until it was too late.
- Microsoft's line of Zune players suffered from this greatly. The ad campaign to accompany its initial launch was half-assed at best and before it had a chance to prove itself in the market (and break Apple's monopoly) it fell victim to a vocal Hate Dumb rooted in Quality by Popular Vote. Only the hatedom wasn't as widespread as most believe because most mainstream consumers had no idea they even existed since Microsoft basically stopped advertising them at all by the time the second gen models arrived, save for one faux-infomercial starring an Expy of the Shamwow guy.
- Asuna cars in Canada were this, do you remember the Asuna SE and GT? About the only ones anyone can remember were the Asuna Sunfire and Asuna Sunrunner but that's about it.
- Ironically, there's a small campaign to revive the brand.
- The EV 1 was an electric vehicle that its creators did NOT want to sell, because it didn't have high maintenence costs or run on expensive gas. So they just didn't advertise it. Because of a then-new electric vehicle law in California, they needed to prove that there was little to no demand for the car before they eliminated their one electric vehicle. So they had people fill out overcomplicated surveys before they get to buy an EV 1 that only mentioned the car's weaknesses rather than its benefits, so that no one would want to buy it (even though they would all jump at the chance if it wasn't hard to get one).
The car never spread past California, and even there, few were sold. Of course, you don't ADVERTISE a car by saying everything wrong with it; they normally hide problems. Google "who killed the electric car" for more information.
- ECW was famously Screwed by the Network in this way with TNN refusing to run a single ad for them, giving Paul Heyman ammo for his anti-network rants.
- After NBC purchased Telemundo, they did away with all advertising for IWA Puerto Rico.
- One of the reasons, along with not bothering to stock the cards, that the American release of Battle Spirits failed.
- This is thought to be one of the reasons FreeSpace 2 did not sell very well, despite overwhelming critical acclaim and praise. Particularly bad since its predecessor, Descent: Freespace gained respectable enough sales to warrant an ad campaign.
- This was one of the major death blows for the otherwise-stellar Gamecube game Gotcha Force.
- The Metroid series can't decide whether to avert this or play it straight.
- Live action commercials were made for Super Metroid (in both the US and Japan - with the Japanese commercial boasting then-impressive CGI, and strangely populated almost entirely by Caucasians), Metroid Prime and Metroid: Fusion (with surprisingly high-quality CGI, the former game's commercial even playing in some movie theaters at the time). Metroid: Zero Mission had some ads as well. But the Prime sequels had limited advertising, which considering how the original was an extreme critical and financial success, it's odd that Nintendo would choose to lower the development time and advertising budget of it's sequel, practically gave up on its highly-anticipated (and for the Wii's then-current library, much needed killer app) sequel's advertising, and then fumbled so much for the main series' attempted revival. What is wrong with Nintendo's marketing department?
- The highly-anticipated Compilation Re-release Metroid Prime Trilogy received no TV and highly-limited internet advertising. Clearly, this high-quality release, packaged as a collector's edition at a great price and very anticipated by fans, was not worth promoting. It was lucky to have a website.
- The fact that before even 3 months passed after its release Nintendo announced that they were not going to reprint more copies leading to the game become hard to find and ridiculously expensive within 6-9 months also probably didn't help in the long run.
- Metroid: Other M got another great live-action-CGI commercial and a cool website, but the ads only started running a few days before release. And then Reggie-Fils-Aime asks the fans why they didn't buy it (although the game's mixed reception didn't help, the marketing was clearly a problem as well).
- Sony has hardly marketed the Playstation Move despite the acclaim of the peripheral and wireless gameplay being the latest trend at the moment.
- One of the biggest problems that Armored Core has is that it is almost never advertised past E3. This has caused the game to be thrown between publishing companies like a spiked ball. To elaborate, the series has been taken up by three different companies after the original dropped it (after Last Raven). Sega picked the series up for 4, only to drop it and for Ubisoft to pick it up. Ubisoft dumped it, and now Bandai has the ball for Armored Core 5.
- Namco Bandai seems to give absolutely no importance to advertising games of the Tales Series in the West. Usually it follows a pattern of localization announcement followed by months of silence, and then a short trailer a week before releasing; and that's it. And they wonder why the series isn't that popular around here. The only titles that were decently advertised were the two Tales of Symphonia games, but Nintendo was probably the one responsible for that.
- Project .hack was well-advertised to begin with in the US, but every release after the first game, including the sequel series .hack//G.U., experienced this, in addition to getting the Friday Night Death Slot if it was an anime other than .hack//SIGN.
- A certain MMORPG called Fly FF is slowly dying out, partially because of this and partially because of ...interesting decisions being made by its developers and host.
- When was the last time you saw an EverQuest (not EverQuest 2) advertisement? You might not even know the game is still around and they are still releasing expansion packs every year.
- With the exception of Metal Gear Rising: Revengeance, this has happened to Platinum Games with every game they put out:
- Madworld had a damn good TV ad, but unfortunately it got very little airtime, most likely due to Sega believing that such game would tarnish the Wii's image.
- Infinite Space got no advertising outside of Japan whatsoever, and the advertising it got in Japan was very, very limited. The game was shipped out to stores without any announcement beforehand, which resulted in god-awful sales, and it has now become one of the rarest games for the DS. note
- Bayonetta received a huge ad campaign in Japan. In other countries, Europe only got a magazine ad which gave very little indication to what the game was about, while the U.S. got a very mediocre commercial that was hardly aired.
- Vanquish got advertising in Japan and France, but not America or other parts of Europe, due to Sega choosing to promote Sonic Colors instead.
- Anarchy Reigns got no advertising outside of Japan, save for a Gamestop pre-order ad.
- Outside of Japan, The Wonderful 101 had lots of internet ads, but no television advertising at all. Even worse is the fact that the internet ads keep emphasizing the fact that it's on the Nintendo eShop, which has lead people to believe that it's an eShop exclusive title. Because of this, and heavy amounts of promotion on the eShop, it has sold exceptionally better on the eShop than it has in retail.
- Capcom was very bad about this during the sixth-gen era of console gaming. Neither Killer7, Ōkami, nor God Hand got any kind of advertising in the West. Okami did get promotion...years later, for its Wii, XBLA, and PSN re-releases. But for its original PS2 release? Nothing.
- The Typing of the Dead: Overkill, of the House of the Dead franchise, got almost no advertising outside of a Twitter post when it was plopped onto Steam. The developers were apparently hoping to ride the wave of hype and the cult status the series has gotten for the very cheesy second game, which also had its own even-more-cheesy Typing of the Dead game, and its own cult following.
- One of the many reasons Nintendo's games don't sell quite as well in the UK, is because Nintendo of Europe's attempts at advertising them can be pretty much summed up as "on their website, in the official magazine and maybe on the Disney Channel if you're lucky". Okay, the most important games ever (think Pokemon, mainstream Mario platformer or perhaps Zelda) might get a commercial during a lesser known TV show, but anything else may as well not be advertised at all in the region.
- It's even worse in Poland, where there are absolutely no advertisements for Nintendo's games. The only recent Nintendo advertisement in the country was a commercial for the Wii, which played way after the console's original launch, and a commercial for the Nintendo 3DS, which was one of the international ads with terrible dubbing. Both commercials received very little air time. As a result, Nintendo made no effort to advertise the Wii U and finding the console at a retail shop is a borderline miracle.
- Active Worlds, Worlds Chat and other obscure MMOs fell victim to this a few years after their debut as well as being forced to duel with the juggernaut that is Second Life despite coming out years earlier. They all fell into obscurity as well due to this.
- This is what led to the failure of KaBlam!
- Numerous shows on [adult swim] are put on the schedule without actually being advertised, especially anime; they're getting a bit better about it, though. On the other hand, on April 18, 2008, a show (Rising Son, a spoof of Soap Operas focusing on the life of Jesus), premiered at 5 o'clock in the morning. Without any announcement of any kind except for the title appearing on the schedule. It was bad enough when they moved their new anime to 5 a.m. without advertising it...
- And on the main Cartoon Network, Robotomy (aka Superjail for kids) was rarely acknowledged until the start of 2011, 3 whole months after its debut.
- What ultimately killed The Life and Times of Juniper Lee as CN barely gave any hint of a new episode after its first season. The show wasn't even given the dignity of airing its final two episodes on TV, instead being punted to CN's video service.
- Grojband had the second half of its first season "exclusively premiere" on the network's website and tablet app, which is pretty much code for "the ratings were terrible for the first half, but we have to air the rest somewhere".
- Ben 10: Omniverse had its eighth and final season get the 6 a.m. burn-off treatment in two weeks in November 2014; the only reason it seemed to air was to get a tax write-off onto Turner's balance sheets before the end of the year.
- The Avengers: Earth's Mightiest Heroes went through a period in its second season in which Marvel stopped sharing online previews. The show also received a scant amount of merchandise during its run.
- One of its Disney XD brethren, TRON: Uprising went through worse. Credit where it's due, Disney Channel did air a prologue episode about a month before the premiere, but promotion for the series evaporated about midway through the run, and the network (apparently fearing a cult following similar to the bronies,) buried the show in a 12AM Sunday timeslot. There's been no concrete word on the show's fate, but all signs are pointing to end of line.
- There was exactly one commercial for DC Nation and Cartoon Network would only run it during DC Nation.
- There was another commercial for DC Nation on Boomerang, for some reason. They ran it at least once in each half-hour. But it's just a generic collection of clips that was put together from then-unreleased episodes just before the block came back in January 2013.
- The Legend of Korra was treated horribly from the second season (or 'book') on. Nickelodeon rarely acknowledged the show for 15 months after Comic-Con 2012. When it released news of its 2013 schedule, it only stated Korra would be premiering late that year, but giving absolutely no estimate. Finally, at Comic-Con 2013, it was revealed that Book 2 would premiere in September... in a Friday Night Death Slot. Even between Comic-Con and the premiere, Nickelodeon rarely aired trailers (and after the premiere, still rarely does). After a few episodes, the show was pushed back to 8:30 with little warning. Now, after the much-anticipated Beginnings 1 and 2, the show is now stuck at 8 pm. Again, with little warning other than an occasional commercial on TV, a tiny video in a corner of the show's page on Nickelodeon's site, and various TV schedule guides. The season finale had a premiere of midnight on a Friday night online, after a very blatant and dirty campaign by the network for viewers to "unlock" the premiere with Tumblr reblogs. Knowing that the goal would easily be reached meant they had to do no promotion for the actual airing on television for it the next week as the diehards already watched it online.
- Book 3 faired no better, as the only time Nick advertised it at all was the day it aired. This was because Nickelodeon's Mexican sister network somehow managed to upload three episodes to their website well before the show was ready for air and leak them out. Most networks would have just ignored it because the episodes were in Spanish and only the diehards would care and it was of episodes in the middle of the book, but Nickelodeon's chaotic management as of late irrationally panicked and just threw them on the air with zero promotion and the complete trashing of the traditional Comic-Con buzz-building, no matter how confined the leak and how bad the fandubbing of them were. Not helping also was Nick deciding not to stream the episodes after they aired either, meaning with Nick's traditional 'we'll never repeat anything but SpongeBob and our sitcoms' policy, you had one shot to watch and that was it.
- All that wonderful non-advertising and self-piracy cut the ratings in half, and with four episodes remaining, Nick decided to shunt it off to the Internet. It'll stream to various web presences, and this leaves the possibility of the final book ending up never seeing a minute on Nickelodeon at all. The showrunners tell us not to panic, though: the fourth season will happen.
- And it will; online and rushed out in October, with a pity marathon of Book Three on Nicktoons (a network not in HD for most of the country) beforehand. The last few episodes of the series also got the Nicktoons pity treatment in the same Friday night timeslot.
- Legends Of Chima was heavily advertised during its first season. Not so much for its second and third.
- Sonic Boom premiered in a 7 AM/6 AM timeslot with no advertising - in fact, the first promo was shown after the first episode(s)! Compared to how much attention the video games received, it's especially jarring.