Media relations and tier one placements.
Lists built by beat and by writer, pitches written per reporter, follow up worked by hand. Features, interviews, reviews, and roundups sequenced against your rollout rather than blasted at once.
The entertainment PR agency that puts your coverage targets in writing
We are an entertainment PR agency for film, television, streaming, music, games, and creator projects. We pitch the trade reporters, critics, and culture editors who decide what gets talked about, then turn that coverage into search rankings and citations inside AI answers. Outlet tiers, placement counts, and dates are agreed before kickoff, behind a 100% guarantee: you get the agreed results or your money back.
The stakes
Nobody in entertainment loses to a bad review
They lose to silence. The film gets finished, the series gets a date, the special gets shot, and then the one window that mattered opens and nothing happens inside it.
Failure here is quiet. Trade reporters never reply. Critics never open the screener. The programmer who could have taken it never heard the title. A sales agent asks what press you ran and you send a link to your own Instagram. An acquisitions team searches the name and finds a press release nobody picked up. Ask ChatGPT which films in your genre are worth watching this year and it names six, none of them yours.
Meanwhile the money is already spent: the shoot, the sound mix, the deliverables, the submission fees. A project with no coverage does not fail loudly. It just never gets discussed, and attention that never arrives does not arrive late.
The calendar
What an entertainment PR agency does
An entertainment PR agency earns media coverage for the projects, companies, and talent behind film, television, streaming, music, gaming, theater, podcasts, and digital content, so audiences, buyers, and programmers hear about the work from someone other than the people who made it.
The daily work is positioning and story development, media list building, press materials and electronic press kits, pitching trade and consumer press, premiere and embargo coordination, interview and junket booking, festival and awards publicity, event and red carpet press, crisis and reputation management, and reporting against targets.
What separates it from every other kind of PR is the calendar. Festival acceptances, embargo lifts, review windows, awards qualification deadlines, and streaming drop dates are set months ahead by people who never publish their schedules. Miss a window and the story does not move to next week. It disappears.
The credits
The entertainment PR work we run
Every scope starts from the date already locked, the strongest thing about the project, the audience you actually need to reach, and what this campaign has to prove commercially.
Launch and announcement PR.
Casting, greenlight, acquisition, first look, trailer drop, premiere, and release, each beat timed so it sets up the next one.
Thought leadership and executive positioning.
Studio, production company, label, and entertainment technology leaders who need to be quoted on the state of the business, not just credited on a title.
Crisis and reputation management.
A leaked cut, a complaint from the set, a resurfaced clip, an embargo broken early. A plan that exists before the reporter's email does.
Digital PR, measurement, and reporting.
Earned links pointed at the pages you own, reported as placements against target, outlet tier, referring domains, branded search volume, and where AI answers now name the title.
Full menu at public relations services.
Film PR
Film PR agency services for festivals, awards, and release
Publicizing a film is a different job from publicizing a person, and most people searching for a film PR agency want the first one. A title moves through a fixed set of milestones, each with its own press window and its own gatekeepers, so the campaign is built backward from those dates.
Festival launch and premiere publicity
Announcement and lineup press, screener servicing to critics, review pushes timed to the premiere screening, on site press coordination, and interviews built around the Sundance, SXSW, Tribeca, Cannes, Venice, Berlin, and Toronto calendars rather than scrambled together after acceptance.
Awards qualification and awards season campaigns
Qualification runs, for your consideration press, guild and voter facing coverage, craft features for below the line categories, and profile pieces sequenced against Academy Awards, Golden Globes, BAFTA, Emmy, and European Film Awards deadlines.
Unit publicity, junkets, and trade press
Set visits, production notes, stills and behind the scenes assets, junket and roundtable coordination, and placement into the titles buyers actually read: Variety, The Hollywood Reporter, Deadline, Screen International, and IndieWire.
Independent film, distributor, and theatrical release campaigns
Theatrical, day and date, and streaming rollouts for indie titles, sales agents, and distributors. Market by market press against the booking pattern, plus the long tail coverage that keeps a title findable months after opening weekend.
The marquee
The verticals we cover
Film and television. Streaming platforms and their originals. Music artists, labels, and festivals. Games, studios, and publishers. Theater and live events. Podcasts, audio, and comedy. Publishing and authors. Digital creators and the brands backing them. Plus the companies selling into all of it: production services, post houses, ticketing platforms, and entertainment technology.
Most agencies ranking for this search cover one or two of those and still call themselves entertainment specialists. What we hold is the beat, not the medium. If we cannot name the writers covering your lane this month, we say so before you sign.
The billing block
The outlets your target list is built around
Most agencies competing for this search show you a logo wall and stop there. We would rather show you the target list before you sign, tiered honestly against where your project sits today.
Trades and film press: Variety, The Hollywood Reporter, Deadline, Screen International, IndieWire.
Consumer and culture: Mashable, Daily Mail, OK! Magazine, Elle, Glamour, Men's Journal, USA Today Network, Entrepreneur, Forbes.
A first feature does not open with a Deadline exclusive, and any agency implying otherwise is selling you the meeting rather than the outcome. We usually earn genre press, regional coverage, and niche trades first, then take the trade feature to an editor with something to point at. Your agreement names the specific outlets and the count, because that list is exactly what the refund is measured against.
AI answers
How coverage turns into rankings and AI citations
Audiences stopped starting at Google. They ask ChatGPT, Perplexity, and Gemini what to watch next, and one answer names four titles.
Fifth place does not exist in that answer, and there is no ad slot to buy your way into it.
Generative engine optimization sounds like jargon and is not. Models repeat what they can verify: publications they already crawl, consistent entity signals about the title and the people attached to it, and structured data saying what the thing is and when it arrives. A review in a trade a model already reads is the strongest input available, and it is the one thing no link vendor can produce on request. That is why PR and search sit in one team here rather than in two contracts that blame each other. If discovery for your title runs through video, pair it with YouTube SEO and SEO and GEO.
The stripboard
How the first 90 days run
Week one: the scope goes in writing.
Discovery with you and your producers, the angle worth a reporter's time, a read on what is getting covered in your lane right now, and a tiered target media list. Outlets, placement targets, timelines, and deliverables are signed before any money moves.
Weeks two and three: assets and pitches move together.
Press kit, production notes, stills, and the screener plan finished. Embargoes and exclusives offered, servicing to named critics, and pitching into stories being written that week.
Days 30 to 45: first coverage.
Niche trades, genre press, and regional outlets usually land first, because those cycles turn fastest and they are what a sales agent or programmer checks.
Day 90: the tier one push and an honest review.
Feature, review, and interview pitches at the top of the list, festival and awards angles where the calendar allows, then a reckoning against the targets you signed, not the work we can point to.
As a pace marker, Forbes clients usually get a first opportunity somewhere inside 4 to 8 weeks.
Why AceIt
Why hire AceIt as your entertainment PR agency
Ask every entertainment PR agency on your shortlist what happens if the coverage never lands, then watch the answer go soft.
On our booksnot yours
Agreed results or your money back- Placement targets, outlet tiers, timelines, deliverables · before kickoff
- Missed on the timeline we committed to · refunded
One named critic's yes on a chosen datenot ours to sell
Nobody in this field puts an outcome in writing, which is why the entertainment retainer has become the most open ended arrangement in PR: monthly invoices across an entire release window, a hit report padded with aggregator reprints, and a premiere that came and went with no trade pickup, no reviews, and a title nobody searches by name. On a project with one opening, that is not a slow start. That is the whole campaign.
So the risk sits on our books, not yours. Placement targets, outlet tiers, timelines, and deliverables are agreed before kickoff, and if we do not deliver what we committed to, on the timeline we committed to, you get your money back. We guarantee the work and the agreed deliverables rather than promising that one named critic says yes on a chosen date, because no ethical agency sells you another person's decision. Being precise about that is what keeps the refund meaningful.
Three other differences you can check before you sign anything. Senior people run your campaign, with no junior account managers learning the release calendar on your budget. Replies land in 1 to 2 hours, not the week after your premiere. And PR, SEO, and web sit in one team out of Austin, so the coverage we earn also feeds your rankings and your visibility inside AI answers.
Proof
Proof with numbers attached
1M+Brand impressions Vezbi, a community super app, crossed on targeted organic PR as it entered the U.S.
50+Features the Forbes program has placed across 12+ industries
4,200+Visits one of them returned for a client anonymized under NDA, with branded search up 38% and 12 secondary pickups
DA 94Authority of the backlink that same feature earned
Client coverage has run in
Also Daily Mail, OK! Magazine, Men's Journal, Elle, and Glamour. The agency itself has been written up in Hollywood Life and New York Weekly.
Start with Vezbi, a community super app that crossed 1 million brand impressions on targeted organic PR as it entered the U.S., the Vezbi case study. The Forbes program has placed 50+ features across 12+ industries; one of them, for a client anonymized under NDA, returned 4,200+ visits, branded search up 38%, a DA 94 backlink, and 12 secondary pickups. Client coverage has run in Variety, Mashable, Daily Mail, OK! Magazine, Men's Journal, Elle, Glamour, USA Today Network, Entrepreneur, and Forbes. The agency itself has been written up in Hollywood Life and New York Weekly.
The top sheet
What entertainment PR costs
Almost nobody ranking for this search publishes a number, so here is ours. Forbes campaigns are scoped and priced in writing before kickoff. Programs pairing earned media with search run mid five figures to six figures annually against a 12 month roadmap. Project based, retainer, and performance oriented models are all available, scope and price are settled on the strategy call, and the figure goes in writing before kickoff, on the pricing page.
For reference, the one entertainment competitor in this market that publishes rates quotes $5,000 to $50,000 plus per month, so you can judge where any quote you receive sits. Model the return on your own before you take a single meeting.
The honest filter
Who this fits, and who it does not
Greenlitit fits
It fits finished films and series with a first public date at least six weeks out, sales agents and distributors working a slate, production companies and studios, streaming and entertainment technology companies, festivals and live events, games and music companies, and talent with an actual project behind them.
Passed onit does not
It does not fit anyone who wants a named critic promised by Friday, anyone shopping purely on the lowest monthly rate, or anyone whose only news is that the project exists. We do not buy coverage, and we will not hand you a paid placement dressed up as earned press. If a title is not ready, we will tell you on the call instead of billing you through the whole release window to reach the same conclusion.
Questions
Asked before every entertainment engagement
Anything else, email [email protected] and it comes back in 1 to 2 hours.
An entertainment PR agency earns media coverage for projects, companies, and talent across film, television, streaming, music, gaming, theater, and podcasts. The work covers positioning and story development, media list building, press kits and screener servicing, pitching trades and consumer press, premiere and embargo coordination, interviews and junkets, festival and awards publicity, crisis handling, and reporting. Success is measured in placements, outlet tier, and branded search, not clippings.
Most agencies in this market refuse to publish anything at all. The one that does quotes $5,000 to $50,000 plus per month. Ours: Forbes campaigns are scoped and priced in writing before kickoff, and programs combining earned media with search run mid five figures to six figures annually. Project, retainer, and performance oriented models are all available, the price is agreed in writing before kickoff, and it carries a 100% guarantee: the agreed results or your money back.
Start six to eight weeks before your first public date, whether that is a festival premiere, a theatrical opening, or a streaming drop. Lock the assets a journalist needs first: production notes, stills, a trailer, a screener link, and a synopsis with credits. Then build a target list by beat rather than by outlet size and pitch reporters individually. A film PR agency does that for you and works the follow up you will not have time for.
A publicist is one person handling your press. A PR agency is a team, usually a strategist plus media relations leads with content and search people behind them. A solo publicist can be excellent for a single title and gives you their personal contact list. An agency makes more sense when a campaign runs across trades, consumer press, several markets, and search at once, or when you are working a slate.
A unit publicist is the press person embedded with a production while it shoots. They write the production notes, manage set visits and cast interviews, coordinate stills and behind the scenes footage, and control what information leaves the set and when. The material they gather becomes the press kit the release campaign runs on months later, which is why experienced productions hire one before principal photography starts.
Yes, arguably more than studio titles do, because an indie has no marketing spend carrying it. Coverage is what tells festival programmers, sales agents, distributors, and buyers that the film exists and is worth a screener. It also builds the search and AI footprint that keeps the title findable long after the premiere. Without press, an independent film competes on word of mouth from a room of a few hundred people.
Next step
See the coverage plan before you spend a dollar on it
Send us the project, the date it goes public, and the two titles that keep getting written about instead of yours. Back comes the angles we would build, the critics and trade reporters we would service first, the date we expect your first coverage, and the targets we would sign. Every engagement carries a 100% guarantee: you get the agreed results or your money back.
Every engagement carries a 100% guarantee: you get the agreed results or your money back