When Amazon quietly scrubbed the gun from James Bond’s streaming posters, it didn’t modernize a legend — it diluted one. Because you can’t edit out an icon’s DNA and expect the story to stay the same.

Beetlejuice is back from the dead — again. But a 13-week Broadway run feels less like resurrection and more like crisis management. Limited engagements may create hype, but they also expose the uncomfortable truth: Broadway is leaning on nostalgia and scarcity while avoiding its deeper economic problems.

TIFF50 opened with tears, nostalgia, and John Candy. Colin Hanks’ John Candy: I Like Me gave Toronto a proud, emotional moment — but while TIFF celebrated its legacy, Venice and Cannes secured the Oscar campaigns and distribution deals. Film festivals aren’t just screenings — they’re brands. Cannes is glam, Venice is the Oscar launchpad, and Toronto risks being remembered more for memory lane than market clout.

In 2025, a poster won’t sell your show — a full branding ecosystem will. From the Brooklyn Film Festival’s “Good Screen Time” to Wicked: For Good’s omnichannel push, campaigns prove identity is everything.