In the mid-1970s, major studios began treating toys and other licensed products as part of a film’s business plan, not just after-the-fact souvenirs. This set the stage for “blockbusters” to be marketed as brands across theaters, stores, and TV ads.
Before Star Wars opened, Kenner obtained rights to make action figures and related toys. This was an early, high-impact example of planning merchandise around a wide-release movie, even though the demand risk was still uncertain.
Star Wars opened in U.S. theaters in late May 1977 and rapidly became a mass-market hit. Toy demand spiked faster than manufacturers could supply, showing how theatrical momentum could spill directly into retail pressure.
To meet holiday demand without finished figures, Kenner sold the Star Wars Early Bird Certificate Package in 1977. It effectively marketed a promise of later delivery as a product, demonstrating how distribution constraints could drive inventive merchandising tactics.
As Star Wars’ success grew, control over sequels and licensing became a major bargaining point. In 1979, 20th Century Fox relinquished certain licensing rights to George Lucas during renegotiations, highlighting how merchandising value was becoming central to studio negotiations.
After Raiders of the Lost Ark succeeded in 1981, Kenner launched The Adventures of Indiana Jones action-figure line in 1982. The quick rollout shows a growing expectation that major films should have toy programs ready to extend demand beyond the theater run.
E.T. the Extra-Terrestrial opened in the U.S. in June 1982 and became a defining example of product placement tied to blockbuster marketing. Reese’s Pieces was used on-screen and supported by a cross-promotion, showing how a brand could become part of the story and the advertising at the same time.
Top Gun opened in May 1986 and became associated with the Ray-Ban Aviator look worn by its lead character. The reported jump in Aviator sales helped reinforce the idea that a blockbuster could function as a national advertisement for consumer products, not only licensed toys.
For Batman (1989), Warner Bros. emphasized a consistent black-and-gold Bat-symbol across posters and tie-ins. This strategy helped make a single logo do double duty: building mystery for the film while also driving a unified merchandise look in stores.
In 1990, Teenage Mutant Ninja Turtles showed how a hit property could be amplified through coordinated promotions beyond theaters. Campaigns included fast-food kids’ meal toys and major retailer in-store promotions, linking release awareness to immediate product sales.
Ahead of Home Alone 2 (1992), marketers turned the fictional Talkboy recorder into a real consumer product. This approach used the film’s story world to create a desirable toy, strengthening the feedback loop between on-screen visibility and holiday retail timing.
As Jurassic Park approached its June 1993 release, Universal assembled a very large licensing program spanning many product categories. Trade coverage described roughly 1,000 types of licensed items across around 100 companies, illustrating how blockbuster distribution plans were now matched by industrial-scale merchandising plans.
By mid-1993, analysts were already projecting that Jurassic Park product sales could exceed $1 billion at retail. These expectations show how, by the early 1990s, merch was no longer secondary—it was built into the definition of a successful blockbuster campaign.
By the early-to-mid 1990s, major releases commonly planned coordinated advertising, fast-food promotions, and large toy/licensing programs well ahead of opening weekend. This period closed with a clear industry shift: distribution strategy and marketing strategy were now designed together, with merchandise treated as a core revenue and branding channel.
Toy, merchandising, and cross-promotion campaigns for blockbusters (1977-1994)