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Producer Michael Uslan can pinpoint the precise moment he began to fear for the soul ofSan Diego Comic-Con.
And look, I started this.
Im willing to take blame as well as responsibility for what has evolved here.
Marvels success had begun to burgeon around that time.
Fans and producers alike are wondering: Is SDCC as appealing a marketing tool toHollywoodas it used to be?
They finally realized that Twitter doesnt sell movie tickets, this person says.
The big Marvel films, they owe the fans.
But youre trying to get space here for why?
Its like couch potato geek heaven.
Theyre mostly comic-book fans, after all.
We are hard-core nerds.
A lot of it has to do with product.
A lot of my clients dont have product thats ready for prime time.
Especially on the film side.
Last year was robust.
Is it a one-off year or a trend?
We wont know until we see what happens.
But Im not hearing people say, Comic-Con is a waste of time and money.
Why are we going there?
The same executive notes that the coveted Hall H panels dont come cheap.
People are evaluating the costs and the return, the person notes.
For the last three years, people have been looking at theROI.
Theres a case to be made that people are being more discerning.
If you dont have a stellar group of offerings, you might not go because the costs are great.
Superhero shows were just really hard to pull off.
But now everyone seems to be diving into it with things likeWatchmen,Umbrella Academy,Doom Patrol.
These are all edgy, dark TV shows that would have been rated-R or PG-13 films.
For his part, producer Uslan feels the convention is healthier without the overwhelming displays of studio marketing firepower.
Its like science says, everything ultimately seeks its own level, he says.
And now that the studios are not making Comic-Con their sole and No.
1 marketing effort while still making it animportantmarketing effort the seas are calm.
It had been seeking its own equilibrium, and I think its finally arrived at that.
