That cultural shift has been accelerated by the emergence of HBO Max, which had its debut in May 2020 and has since become a crucial staging ground for WarnerMedia’s movies and TV programs. “You don’t want a brand to ever be stagnant,” Melton said. While other channels and streaming sites can offer large film libraries, Melton said TCM was distinguished by “the ability to bring curation and context to these films - why they still resonate today, why they matter.”
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Visitors to this month’s Telluride Film Festival, for example, will be greeted with banners bearing artwork that juxtaposes scenes from the George Cukor and Bradley Cooper remakes of “A Star Is Born,” or the John Wayne and Jeff Bridges incarnations of Rooster Cogburn from their versions of “True Grit.” The TCM logo has a new font and, onscreen, an animated letter C that takes on various forms and sizes before resting at a shape that resembles a camera lens or film running through a projector.Ī new ad campaign and a new tagline, “Where Then Meets Now,” will emphasize the connections TCM seeks to make with its programming, targeting cinephiles while extending an invitation to neophytes.
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The redesign introduced Wednesday features a bright palette meant to evoke the Technicolor logo. “We don’t want to cancel these films - we’d rather engage in conversation around them.” “You can still enjoy the film, but you’re acknowledging some of the things that, for contemporary eyes, can be difficult,” Changnon said.
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To that end, TCM has already started adding programming like “Reframed,” a series that re-examines movies like “The Jazz Singer,” “Gone With the Wind” and “Breakfast at Tiffany’s,” which have been criticized for their outdated treatments of race, gender and sexuality. But then there are folks who are more adventurous, who want to learn and engage in a different way.”
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Looking back over the 27-year history of TCM, Changnon said the channel has always satisfied a core audience “that really just wants their Doris Day movies, that expected, classic catalog.