If you saw a trailer for Straight Outta Compton on Facebook, it was targeted at you based on your race—or, at least, based on what Facebook thinks is your race. People identified by the company as white, black, or Hispanic were shown different versions of the trailer. This is part of Facebook’s new “ethnic affiliation” marketing, which effectively resembles racial profiling with a big data advertising twist.
Universal digital marketing exec Doug Neil described the race-based marketing for Straight Outta Compton at South by Southwest. Business Insider sums it up:
Neil credited part of [the film’s success] to a specialized Facebook marketing effort led by Universal’s “multicultural team” in conjunction with its Facebook team. They created tailored trailers for different segments of the population….The “general population” (non-African American, non-Hispanic) wasn’t familiar with N.W.A., or with the musical catalog of Ice Cube and Dr. Dre, according to Neil. They connected to Ice Cube as an actor and Dr. Dre as the face of Beats, he said. The trailer marketed to them on Facebook had no mention of N.W.A. but sold the movie as a story of the rise of Ice Cube and Dr. Dre.
The trailer marketed to African Americans was completely different. Universal assumed this segment of the population had a baseline familiarity with N.W.A. “They put Compton on the map,” Neil said. This trailer opens with the word N.W.A. and continues to lean on it heavily throughout.
The two trailers aren’t just mildly different—they look like they’re advertising two completely different films. The version for white users, below, comes across like a gangster movie. It emphasizes the violence of the group, showing them brandishing semi-automatics, clashing with police, and walking through what appear to be riots. We only see the actors without seeing any of the actual members of N.W.A. who appear in the film. It looks like a scripted drama and not a biography of real people.
But the version of the trailer for black users, below, plainly depicts the film as a biography. We see members of N.W.A. talking about how their music was “protest art” that reflected the horrible conditions in LA ghettos of the 1980s. A quiet ripple of music swells behind them as they talk to people about what N.W.A. meant to them, and the movie comes across as a reverent retelling of how these important African American artists rose to fame. We don’t see any violence until over a minute into the trailer, after it has been contextualized as “protest” imagery created by the very relatable, beloved members of N.W.A.

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