On January 7th, Warner Bros.’ global marketing head, Josh Goldstine, was unexpectedly let go by studio chiefs Mike De Luca and Pam Abdy. Goldstine, who had been with the company for four years and had recently renewed his contract in early 2024, was informed of his dismissal at the end of the day. This news came as a surprise to many at the Burbank lot, as Goldstine had played a significant role in promoting successful projects such as “The Batman,” “Beetlejuice,” “Barbie,” and “Wonka.”
The announcement of Goldstine’s firing coincided with the devastating Los Angeles wildfires, leading some to question the timing. However, others attributed it to an unfortunate coincidence. In Hollywood, there is a saying that when a movie fails, the blame falls on marketing. This restructuring at Warner Bros. was uncommon considering the company’s decent performance in terms of ticket sales in 2024.
Along with Goldstine, Andrew Cripps, the head of international distribution at Warner Bros., was also let go as part of an effort to streamline global theatrical operations. In their statement announcing the reorganization, De Luca and Abdy emphasized the decision to realign the business unit for a more cohesive global operation.
The shakeup comes ahead of Warner Bros.’ upcoming slate, which focuses more on expensive, auteur-driven films rather than established franchise tentpoles. The lineup includes projects from acclaimed directors like Paul Thomas Anderson and Maggie Gyllenhaal, as well as sequels to popular films like “Mortal Kombat,” “Final Destination,” and “The Conjuring.”
Despite facing some costly failures like “Furiosa: A Mad Max Saga” and “Joker: Folie à Deux,” Warner Bros. also had successes with blockbusters such as “Dune: Part Two” and “Beetlejuice.” While some films performed better domestically than internationally, the studio navigated challenges at the box office, especially after the unique release strategy in 2021.
Speculation suggests that Goldstine’s departure may have been related to cost-cutting measures within the company.
The uncertainty surrounding the global marketing role’s future lingers, with doubts about the replacement. Despite widespread speculation that Goldstine was being blamed for the setback of “Joker 2,” reports suggest there was no specific incident that led to the marketing expert’s departure. “Warner Bros. had a successful year,” notes Jason Squire, USC School of Cinematic Arts professor emeritus. “There weren’t many underperforming movies, apart from the likes of ‘Furiosa’ and ‘Joker 2,’ which didn’t resonate with audiences. That’s more on production than marketing.”
In the coming months of 2025, Warner Bros. plans to release a diverse lineup of films, including “Companion,” a low-budget sci-fi thriller featuring Sophie Thatcher and Jack Quaid (Jan. 31), Bong Joon Ho’s long-awaited $80 million project “Mickey 17” starring Robert Pattinson (March 7), Barry Levinson’s $45 million gangster drama “Alto Knights” with Robert De Niro in a dual role (March 21), the Jack Black-led “A Minecraft Movie” (April 1), and “Sinners,” a $90 million vampire horror tale from director Ryan Coogler and star Michael B. Jordan (April 18). These films, except for “Minecraft,” lack established brand recognition, necessitating strategic marketing efforts to attract audiences.
Some industry insiders question the timing of the recent executive changes, given concerns about the upcoming movie slate. James Gunn’s “Superman” reboot, set for release on July 11, is anticipated to be a major success, while sequels like “Final Destination 6,” “The Conjuring: Last Rites,” and “Mortal Kombat 2” are considered safer bets. Additionally, high-budget films like Anderson’s untitled project with Leonardo DiCaprio, Gyllenhaal’s “The Bride!,” and Kosinski and Pitt’s “F1” present marketing challenges due to their financial stakes and need for substantial box office returns.
Goldstine, appointed in 2021 by former Warner Bros. Motion Picture Group chairman Toby Emmerich, faced controversies during his career, including a suspension at Sony in 2001 for falsifying film critic quotes. Despite his marketing expertise and industry relationships, his tenure at Warner Bros. ended amid uncertainties related to the studio’s future direction under new leadership.
In 2020, a court ruled in favor of him and granted him a reported $20 million in damages. Throughout his 30-year career, he has spearheaded marketing campaigns for major blockbuster films including “Spider-Man,” “Jurassic World,” “Despicable Me,” “50 Shades of Grey,” and the “Fast and Furious” franchises. He has also overseen promotional efforts for acclaimed films such as “The Social Network,” “Jerry Maguire,” and “Get Out.” Notably, he was instrumental in the success of films like “Barbie,” which became Warner Bros.’ highest-grossing movie to date. Despite the challenges Warner Bros. faced in recent years with changes in ownership and leadership, the studio has made significant strides under the guidance of executives De Luca and Abdy. They have focused on forging partnerships with renowned directors and actors to bring fresh and innovative projects to the screen. While some admire their bold approach to creativity in an industry dominated by reboots and sequels, others question the financial risks associated with their ventures. It is common for new studio heads to make organizational changes, and in this case, Goldstine’s departure was seen as an opportunity to bring in a new perspective. De Luca and Abdy have restructured the marketing team to ensure greater oversight and collaboration, while also acknowledging the importance of retaining key individuals who contributed to past successes. Despite his dedication to the job, Goldstine’s management style has been described as rigid, leading to speculation of clashes with top executives. However, insiders suggest that strong personalities are not uncommon in leadership roles and do not necessarily indicate underlying conflicts.
“Her in these jobs,” says Galloway. All of this ups the already sky-high stakes for “Superman,” which relaunches the DC Universe under the direction of Gunn and Peter Safran. The film is the studio’s best hope at fielding a billion-dollar blockbuster in 2025, but even the Man of Steel isn’t impervious to box office Kryptonite. The superhero adventure is arriving at bust times for the once-impenetrable genre. “There is a ticking clock for everyone at the studio. July 11 is D-Day,” says Galloway, referring to the date that Clark Kent makes his theatrical return. “If ‘Superman’ can’t storm the beaches of Normandy, a lot of people will be in trouble.”
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