Deployments.

A seven-channel national theatrical launch for the storm-chasing documentary starring meteorologist Reed Timmer, which opened August 21 across a 110-theater footprint in 30 states. Campaign concentrated in Tornado Alley and layered digital video, terrestrial radio, podcast, streaming audio, wild posting, digital bulletins, and a creator activation at the New York premiere across the two weeks around opening.

The digital foundation ran across YouTube, Connected TV, and programmatic display, geo-targeted to every theater in the footprint. Sixteen terrestrial radio stations across eight owner groups carried a two-version :30 spot — pre-opening through August 20, now-playing from opening day — with fifteen of the sixteen ranked in the top four of their market. Streaming audio, iHeart podcast, and an incremental digital video buy extended into second-weekend holdover in the 47 ZIP codes still playing. One hundred and sixty wild-posting placements across Manhattan and Chicago, and nine Lamar digital bulletins across seven markets in Tornado Alley, anchored the campaign physically. Storm-chasing creator Max Velocity delivered a creator activation on premiere night.

A one-week theatrical launch for Ivy Meeropol's documentary at the Angelika Pop-Up at Union Market, opening July 24. Campaign built around Washington, D.C.'s news-consuming, public-radio, politically-attuned audience — the audience most likely to seek out this story on opening weekend and drive week-one theatrical performance.

WTOP news/talk radio carried the drive-time spot rotation across opening week, paired with two DMV Daily newsletter placements reaching the station's political-professional readership. WAMU 88.5 delivered public-radio underwriting messages, live stream pre-roll, and a dedicated email to 65,000 subscribers seeded ahead of opening — sustaining awareness through the one-week theatrical engagement.

From the director of Bohemian Rhapsody, The Usual Suspects, and X-Men. A four-week paid media campaign engineered to open Monument in the DC metro and hold screens through the run. Built on a digital and streaming foundation — CTV, YouTube, paid social, programmatic display, and search retargeting — with audience targeting layered against the film's policy, news, and arthouse audience in the DMA.

Broadcast radio (NPR, WTOP, WMAL) and political trade (Politico) carried the daypart frequency and reached the policy audience directly. Out-of-home — transit, LIVEBOARDs, and street-level media — anchored the campaign physically in the markets feeding the booked theaters, generating the offline signal that fed the digital retarget pool through the opening weekend and into theatrical sustainment.