movies
PaperAirplane Movie Theater Company Sees Hanger Platform Hit 2M Downloads
EXCLUSIVE: The Hangar, the digital asset management platform from exhibitor and distributor theatrical marketing corp PaperAirplane, has clocked over 2 million downloads.
The Hangar is a first-of-its-kind digital interface that connects exhibitors with studio partners whereby the former can access movie marketing materials. Lionsgate distribution vets Mike Polydoros and Will Preuss opened the doors to PaperAirplane and launched The Hangar at the height of the pandemic in October 2020 when only a handful of cinemas were open.
Their mission was to solve a longstanding challenge for exhibitors: to quickly and efficiently access approved marketing materials from studio partners. The company works with every major studio, exhibitor and theatrical content provider in North America as well as Imax, Dolby, CJ 4DPlex (ScreenX), DBox and Coca-Cola. Since its creation, The Hangar’s volume of digital marketing assets has increased more than fivefold.
“When we launched The Hangar back in 2020, we had no idea we would be creating a vital piece of industry infrastructure,” said Polydoros, Co-Founder and CEO of PaperAirplane Media. “We were simply trying to solve a very real problem exhibitors faced in accessing approved marketing materials. Seeing the platform surpass two million downloads is a testament to the collaboration between studios and exhibitors, and to the industry’s commitment to making theatrical marketing more efficient and effective.”
“Our studio partners immediately recognized the value of having greater visibility into how marketing assets were being utilized,” added Preuss, President and Co-Founder of PaperAirplane Media. “For the first time, they could clearly see which assets were driving engagement and which materials were not being used. That insight has helped create more efficient campaigns, stronger collaboration, and better outcomes across the theatrical marketplace.”
“Our mission remains simple,” added Polydoros. “We want to simplify workflows, strengthen campaigns, and provide studios and exhibitors with the tools they need to maximize theatrical attendance. Crossing the two-million-download milestone validates that vision and motivates us to continue innovating for the industry we love.”
Other services offered by PaperAirplane include The Tower, a group sales management platform that centralizes communication, streamlines lead management, and provides real-time visibility into group sales activity. To date, The Tower has managed more than 10,000 group sales leads and helped facilitate millions of dollars in theatrical group sales revenue across multiple film campaigns.
The company also has Flight Plan, a theatrical distribution campaign dashboard designed to give distribution and marketing teams a centralized view of every component of a theatrical release, and make more informed decisions throughout a title’s theatrical lifecycle. The platform aggregates campaign activity across several channels and initiatives, providing studios with instant visibility into key marketing, promotional, exhibitor, media, and performance metrics through a single interface.
In addition, PaperAirplane has produced nearly 75,000 studio-approved digital marketing assets for major studio campaigns and has worked directly with independent distributors to support exhibitor marketing initiatives for more than 250 theatrical releases. Those films have collectively generated nearly a half billion in domestic box office.
Earlier this year, PaperAirplane expanded further with its National Radio & Media Ambassador Division, connecting theatrical campaigns with local radio personalities and media ambassadors in North America.
The company has also introduced The Kiosk, a grassroots audience activation platform that empowers moviegoers to serve as advocates within their communities, helping studios generate word-of-mouth awareness and attendance.
News about PaperAirplane’s milestone with The Hangar comes during Cinema United’s Fall Summit conference with exhibitors.
Other stats about The Hangar:
–Social media videos repped the most downloaded asset this summer, repping 27% of all downloads. Social Media Graphics followed at 23%, while Digital Lobby Posters comprised 19% of downloads. Web Banners accounted for 12%, and Production Stills represented approximately 8%, underscoring the growing importance of digital audience engagement and localized marketing efforts.
–Annual asset additions increased from 2,454 assets in 2020 to more than 61,000 assets in 2025.
–Industry partners increased from 11 to more than 105 studios, distributors and content partners between PaperAirplane’s launch and today. The company covers 27 global territories with The Hangar now averaging around 360 unique users daily, 1,000 weekly users, and 1,800 monthly users.
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movies
Margot Robbie & Jason Blum Join Cinema United’s Filmmaker Leadership Council
Oscar nominees Margot Robbie and producer Jason Blum have boarded exhibition trade org Cinema United‘s Filmmaker Leadership Council, a strategic group of producers and directors united in a single cause to champion the future of theatrical worldwide. The duo join council leaders Jerry Bruckheimer and Emma Thomas, and charter members Ryan Coogler, Brad Bird, Jason Reitman, and Celine Song.
The Filmmaker Leadership Council provides feedback and recommendations on pressing issues facing exhibition today—including consolidation, windows, the promotion and marketing of the cinematic experience, and highlighting innovation and technology. The Council meets quarterly. Former Imax exec Greg Foster is the Council’s Executive Director and a senior consultant for Cinema United.
“We are thrilled and honored to welcome two leaders like Margot and Jason to this influential group,” said Michael O’Leary, President and CEO of Cinema United. “Margot is a global superstar and the voice of a generation who loves movies on the big screen. Jason is beloved by fans around the world for creating incredible—and scary—experiences in theatres. They are both well-known, fierce advocates of the theatrical experience. I want to thank them both for their commitment, and I look forward to working closely with them to advance this great industry together.”
“It’s an absolute honor to have Margot and Jason join the Filmmaker Leadership Council,” said Council Chair Bruckheimer. “Their combined impact on this industry is enormous, and I know they will help our efforts immensely.”
“For me, the magic of cinema starts with the cinema itself,” Robbie said. “Storytelling in this format can be incredibly powerful, and I truly believe movie theatres are essential to our art form. I couldn’t be more grateful and excited to be able to work with such a powerful group of creatives to continue to drive the theatrical experience forward.”
Blum added, “Movie theaters are where fans are made. Bold, creative voices are bringing young audiences back to the movies, and that’s exciting. Turning moviegoing into a habit takes all of us, and this Council gives us a way to do that together.”
This week, Blum will speak to members of exhibition as part of a live conversation at Cinema United’s annual Fall Summit gathering in Los Angeles.
Robbie is a 3x Oscar nominated actress and producer. She starred in Warner Bros’ highest grossing movie ever, Barbie, which made over $1.4 billion worldwide. She stared earlier this year in Warner Bros/MRC’s feature take of classic novel Wuthering Heights. She next stars and produces Warners’ Ocean’s prequel which is shooting in Monaco under the direction of Bradley Cooper who also stars.
Three-time Oscar nominee Blum leads Blumhouse Atomic Monster. Blumhouse has a first-look deal with Universal Pictures and has produced the highly-profitable Paranormal Activity, The Purge, Insidious, and Sinister franchises which have grossed more than $1.2 billion worldwide on combined budgets under $40 million. This past summer Blumhouse Atomic Monster had two movies which grossed over $900M combined on very low budgets: A24’s highest grossing movie ever Backrooms and Focus Features’ highest grossing movie ever, Obsession.
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movies
The Now Agency Opens Social Distribution Network
EXCLUSIVE: As the worlds of entertainment and brands move closer together, The Now Agency has a plan to scale content.
The New York-based social media agency is launching a social distribution network (SDN), which is aimed at helping brands push their content towards a network of more than 50,000 third-party publishers.
“Great content alone is no longer enough to win on social,” said Gabe Feldman, co-founder and Managing Partner of The Now Agency. “Brands need to think just as critically about how that content is engineered to break through the discovery mechanisms that determine its reach, and how distribution can scale that reach beyond a brand’s owned channels.”
In effect, the social distribution network will allow content such as podcasts, interviews, live streams, YouTube programing and other types of long-form content to reach vetted third parties, who turn the content into social-native clips and distribute them through their own channels. The content will span the entertainment, lifestyle, sports and culture spaces.
The Now Agency says content discovery that was once tied to a creator or brand’s follower base, but that platforms are now sharing based on signals such as watch time, engagement, discussion and shares.
“The opportunity isn’t simply to produce more content,” added Jonathan Chanti, Co-Founder of The Now. “It’s to build a system that gives every strong piece of content more chances to find its audience. Social distribution should be treated as infrastructure, not an afterthought.”
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movies
‘Spider-Man’ Sony Universe TV Series Nears Amazon Order (EXCLUSIVE)
EXCLUSIVE: Will the real Ben Reilly please stand up? Prime Video is closing in on an order for a new series set in Sony Pictures’ Universe of Marvel Characters based on the popular Clone Saga storyline from the Marvel Comics, more specifically the second Clone Saga story arc that focuses on two Spider-Man clones, Ben Reilly and Kaine Parker, sources tell Deadline.
Reps for Amazon MGM Studios and Sony TV declined comment.
The new series, written by American Born Chinese creator Kelvin Yu, will succeed Spider-Noir, which was recently canceled by Prime Video after one season. It starred Nicolas Cage as Ben Reilly whose alter ego was the title character. In the comic books, Spider-Man Noir is Peter Parker, with the identity switched for the TV series because of rights carveouts.
Details about the new series are scarce.
In the comics, Ben Reilly is a successful, stable Spider-Man clone whose name is a combination of the first name of Peter’s uncle Ben and the maiden name of his aunt May and who develops a superhero identity of his own, the Scarlet Spider. Kaine Parker is the flawed first clone of Spider-Man.
Sources caution that, while the comics serve as source material and inspiration, there may be significant changes in the screen adaptation.
There is some conflicting information, with some saying that the TV series would follow Ben and Kaine as they grapple with their newly discovered identities as clones while also facing other clones. (Another clone in the comics becomes the villain Spidercide.)
Others claim that the series may alter Ben and Kaine’s origins as clones, and they could take on new identities.
In what is considered Clone Saga’s most controversial twist in the books, Ben Reilly at one point is declared the real Spider-Man and Peter Parker the clone, a switch that was eventually reversed after backlash from fans.
Like Spider-Noir, the new series falls under the multi-title deal between Amazon MGM Studios and Sony Pictures Television aimed at generating a suite of TV series based on IP from Sony’ Universe of Marvel Characters, most of them in the world of Spider-Man. It also will have a linear debut on Amazon’s MGM+ platform followed by a streaming release on sibling Prime Video.
Amy Pascal, Phil Lord and Christopher Miller, who oversee the universe for Sony TV and executive produced Spider-Noir, are expected to also executive produce the Clone Saga series with Yu.
As Deadline reported at the time of the Spider-Noir cancellation earlier this month, Amazon and Sony TV were continuing to develop multiple projects under the pact, with one of them nearing a series order.
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