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Kevin Harrington Launches Marketing Agency Patrick Patrick

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EXCLUSIVE: Former NBCUniversal marketing guru Kevin Harrington has launched a new entertainment marketing agency dubbed Patrick Patrick

The company, which quietly launched earlier this year, is already working with major clients such as Netflix, Universal Pictures and AMC on strategic and 360-degree campaigns.

Harrington, who was previously Senior Director, Planning at NBC for Scripted and Unscripted, said his new company is built on a simple belief: Entertainment marketing deserves the same strategic discipline long applied to the world’s biggest consumer brands. 

Prior to NBC, Harrington spent a decade at agencies including Saatchi & Saatchi, Anomaly and Johannes Leonardo, leading campaigns for clients such as General Mills, Google, Adidas, Amazon, Hershey’s, Duracell, Volkswagen and Heineken. 

He then pivoted into the entertainment sector, working at NBCUniversal where he led marketing strategy for major cultural moments and franchises, including SNL50, where he led the marketing strategy and 360-degree campaign for SNL50: The Homecoming Concert and SNL50: Beyond Saturday Night.

Harrington also worked on Love Island U.S., where he led the full repositioning for Love Island U.S. Season 4’s move from CBS to Peacock, then led series and social strategy for Season 7, which hit the number 1 trending topic on social at launch and the number 1 spot in streaming across all platforms in the summer of 2025. Additionally, he wrote the original positioning strategy for Poker Face Season 1 and returned to lead strategy for Season 2. He also wrote the positioning strategy for The Office spinoff The Paper.

Patrick Patrick, which Harrington said will focus on “everything but the trailer and key art”, will combine the rigor of brand strategy with the “cultural intuition” of entertainment marketing, an approach designed to help studios and streamers cut through a crowded content landscape.

The company, which now has a collective of 15 creative strategists that it works with on an ongoing basis, is currently working on multiple series with Netflix, a film with Universal and an undisclosed project with AMC. 

“I really believe that what used to work in entertainment marketing doesn’t work anymore,” Harrington told Deadline. “The industry has changed so much but marketing and marketing strategy has not kept up with it. I feel like the industry is really in need of a fresh perspective and a different way of looking at things.”

He continues: “In entertainment, it’s easy to assume people are going to care about our teaser, trailer, social post or activation just because of the associated talent, IP, directors or story. Twenty years ago, when it was 20 channels competing neatly against each other, fair. Now, when it’s streamers vs. TV networks vs social media networks in a massively complex content landscape, you’ve got to get a lot more strategic about how you position your content to break through.

“I started my career working on some of the biggest brands in the world – Pampers, Duracell, Volkswagen, General Mills and Google. They taught me a cutthroat level of strategic and creative rigor that was necessary to get people to notice and care. I found that when I applied that level of rigor coupled with the inherent intrigue of entertainment on properties like SNLLove Island and more, it was a formula that really worked. So I started Patrick Patrick to bring that magic to more streamers, networks and studios.” 

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Alex Kahuam Signs With Zero Gravity Management

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EXCLUSIVE: Alex Kahuam, director of Failure! and The Remedy, has signed with Zero Gravity Management.

The Mexican filmmaker, who is best known for his work in the indie horror features space, will be represented by Zero Gravity’s David Romero.

Kahuam was the writer and director of Tallinn Black Nights pic Failure! and Forgiveness, which screened at FrightFest, and director of his most recent film, The Remedy, which played at SXSW London and the Cannes Fantastic Pavilion.

His current pic, horror-slasher House of Holloway, wrapped production this past February. The film stars Laura Marano, Doug Jones, Orlando Piñeda, Courtney Grace and Bonnie Aarons, and follows a family of serial killers playing a twisted psychological game, competing with each other to claim the next victim from among six guests staying at their secluded home. It’s currently in post-production, and is set for a festival run next year.

Next up is Stay With Me, a supernatural psychological horror film set against the backdrop of a music festival, and an untitled sci-fi horror “in the vein of Alien,” according to his company, Kahuam Films.

“I’m very excited to work with David Romero at Zero Gravity Management,” said Kahaum. “When we first met it was clear from the beginning that he spoke my language: The genre/horror language. I’ve made indie films for the last 14 years in the U.S. and diving into the independent film industry before, during and after Covid-19 when everything changed has been very challenging.

“It’s no longer enough to be just a ‘director’; you have to be a ‘filmmaker’ and do it all. With this new collaboration I believe my independent experience and knowledge, combined with David’s great track record working with Hollywood studios and companies for his clients will be the best combination. I’m ready to transition to bigger films and wider audiences.”

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‘Club Kid’ Trailer: Jordan Firstman In His Buzzy Directorial Debut

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Here’s the first trailer for Jordan Firstman’s buzzy feature debut, Club Kid

A24, which acquired the film out of Cannes, will place the title in a limited theatrical release from Nov. 6.

The movie follows Firstman as a hard-partying New York City club promoter whose life is upended by the arrival of the 10-year-old son he never knew he had. Firstman also wrote the movie.

The pic received a seven-minute standing ovation at its Cannes premiere. A24 reportedly beat out multiple bidders to land the title.

Deadline film critic Damon Wise described the film as “an unlikely but still beautifully human story” and praised Firstman’s “elegant switch into a more serious tone, one that addresses all the questions you might have had about this man and his fitness to raise a kid.”

Speaking with Deadline at Cannes, Firstman said the inspiration behind the film was “a period in my life where — it’s going to sound wrong — I was just around a bunch of kids for some reason. My friends started having kids, and I was getting along with them in a funny way, and they would always laugh at me with kids.” 

He added: “So in the first iteration, I’m just like, ‘Oh, me and a kid, funny, ha ha. Adam Sandler, blah, blah, blah.’ And then through the process of writing it, I went through a breakup, and that partner and I, we partied a lot together. He was in Berlin, and so I had just a lot of exposure to that scene and was just partying a lot myself and finding myself at this crossroads where the drugs were not hitting like they used to. But you keep doing them, and you’re like, ‘So they’re not working, and I feel horrible for a week.’ And so I kind of just wanted to explore that. And then as I kept writing, new things kept unfolding and honestly they keep unfolding. I still learn new things about the film and myself every time I watch it.”

Check out the trailer above.

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Busan Film Festival Sets Kim Jong-kwan’s ‘The Table: Day and Night’ as Opening Film

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The Busan International Film Festival has selected Kim Jong-kwan’s The Table: Day and Night, a tender drama about four couples who experience romantic moments in the same Seoul cafe, as the opening film of its 31st edition. The drama will world premiere at the Busan Cinema Center on Oct. 6, the festival announced Wednesday. 

Kim has built his reputation in the Korean film industry with a flair for elegantly constructed short stories. He won the jury prize at the Mise-en-scène Short Film Festival for his 2004 debut How to Operate a Polaroid Camera, and has returned repeatedly to anthology work — directing segments of the Netflix series Persona (2019), which featured filmmakers building shorts around K-pop star IU, as well as Vestige (2022) and The Killers (2024).

Even his features have tended to operate like collections of interlaced shorts. The Table: Day and Night appears to be a loose follow-up to his 2016 feature The Table, a chamber piece featuring four women discussing their past and present romantic entanglements at the same table in a Seoul cafe over the course of a single day. That feature premiered at BIFF in 2016 and became one of his best-known works.

The Table: Day and Night follows four couples as they experience sparks of romance in a Seoul coffee shop over the summer and autumn months. Mostly conversation based, the film depicts a chance encounter between Yoo-jin (Kim Minha) and Hyeon-oh (Joo Jong-hyuk); an unexpected reunion between Sang-mi (Han Sun-hwa) and Young-min (Chang Ryul), who were friends in middle school and discover a fresh bond; a rush of creative chemistry between web novelist Hye-jin (Shim Eun-kyung) and indie filmmaker Dong-nam (Lee Hee-jun); and a bittersweet moment between idol trainee Na-kyeong (Jeon So-young) and her boyfriend Jong-su (Kim Dong-hwi). 

In its announcement, BIFF described its choice of curtain-raiser as “an elegant and assured film in which the cinematic interests, style, perspective, and world that Kim Jong-kwan has persistently explored as a filmmaker reach a provisional culmination.”

“Without relying on excessive setups or dramatic turns, it greatest merit lies in how thoughtfully it captures the unique inner voices and emotions of its characters, as well as the subtle shifts in their relationships,” the festival added. 

One of the film’s stars, Kim Minha of Pachinko fame, will also host Busan’s opening ceremony, where Michelle Yeoh will be honored as the event’s Asian Filmmaker of the Year, Ann Hui will receive the Chanel-backed Camellia Award, and Kim Dong-ho, the festival’s own founder, will be presented with the Korean Cinema Award. The 31st Busan International Film Festival runs Oct. 6-15, with the Asian Contents & Film Market held Oct. 10-13. 

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