In June 2025, Apple launched one of the biggest cinematic events of the American summer: F1. Starring Brad Pitt, Apple is taking a huge financial gamble on one of Hollywood’s last remaining superstars who can still attract large audiences. With an estimated budget over $200 million, a soundtrack by Hans Zimmer, and sensory technology—including the so-called "haptic trailer" (a promotional video that makes the iPhone vibrate in sync with the on-screen action)—the film was released in IMAX and traditional theaters worldwide. This wasn’t just a movie release; it was a meticulously planned event meant to dominate every screen and stream feed simultaneously, with trailers circulating at WWDC and the Super Bowl, turning a racing film into a corporate milestone disguised as a cultural phenomenon.
Soundtrack: The Heartbeat of the Spectacle
The soundtrack, released on the same day as the premiere, was created as a global product. F1 the Album, under the Apple and Atlantic labels, brought together artists like Don Toliver and Doja Cat (who released the single “Lose My Mind”), BLACKPINK’s Rosé, Ed Sheeran, and Tate McRae. It’s not just about matching visuals of speed; it’s about crafting an emotional environment that connects audiences to the film before they even enter the theater.
According to UOL, the promotion was nearly as strategic as the film itself. Singles were released in blocks across major platforms, with 30-second previews included in promotional videos and TikTok teasers. It’s interesting to see how this soundtrack encapsulates the entire project: a mix of sporting nostalgia and urban pop—the sound of a championship combined with the algorithm. In an era where music has become a marketing tool, F1 shows that no blockbuster arrives alone; it’s backed by playlists, vertical videos, and hashtags.
In practice, this model reinforces music as an essential part of the audiovisual experience. Streaming is no longer just a place for consumption; it is the space where soundtracks become proof of cultural relevance, driven by global artists. And although much of the criticism of the film focuses on its narrative clichés, no one seems to question the power of the soundtrack in legitimizing the spectacle.
The Billion-Dollar Investment and the Narrative of Power
The budget reported by Variety and echoed by UOL ranged between $200 and $300 million. While not the highest among 2025 blockbusters, it positions F1 alongside releases like Mission: Impossible – The Final Reckoning (estimated between $300–$400 million) and Netflix’s The Electric State (also above $300 million). Still, the combination of a star like Brad Pitt and Apple’s technological advancements—including custom cameras and the unprecedented use of the haptic trailer—elevates the project to a rare symbolic scale. It isn’t just about money; it’s the power to transform the protagonist’s persona and the promise of innovation into arguments for relevance. When this formula comes together, the entire film begins to carry an aura of importance that transcends any cost sheet.
Unlike other major productions, F1 does not aim to reconstruct historical facts. Its goal is more ambitious: to create a collective memory even before it exists. That's why it was filmed during actual Grand Prix events, using specialized cameras to capture the atmosphere as if it were a documentary, and announced at global corporate events like WWDC. UOL pointed out that this strategy is groundbreaking in many ways. The film was not only promoted with trailers and interviews but also included "haptic snippets" that transformed iPhone vibrations into part of the sensory experience. At the Super Bowl, Apple paid millions for exclusive advertising slots. Throughout June, F1 topped entertainment searches on Apple TV’s platform. The film became a testing ground for how Big Tech can influence cultural consumption and create events that are nearly indistinguishable from product launches. To some degree, F1 represents the culmination of a decade during which technology brands shifted from merely distributors to producers, curators, channel owners, and mediators of public debate. The billion-dollar investment isn't just about immediate box office gains; it’s a bet on solidifying "Apple Originals" as a symbol of authority—a mark that ensures any future productions carry an aura of importance.
Brad Pitt: Reconstructed Hero or Media-Edited Character?
At the center of it all, Brad Pitt embodies Sonny Hayes—a veteran driver returning to the track to confront his past. That is the official story. But behind the scenes, Pitt has followed a similar path, stepping back into the spotlight after a lengthy period defined by investigations and public disputes. The most notable case was the 2016 flight incident, where Pitt was accused of assaulting one of his children and his then-wife (whose name I prefer not to mention here, as high-profile cases of violence often expose the victim more than the perpetrator, and my goal is not to reinforce that strain). The FBI investigated the incident, but no criminal charges were filed, and the case did not lead to a conviction. His legal representatives and close sources have always denied the allegations; to this day, Pitt has never publicly addressed these accusations.
What’s most interesting isn’t just his return to a leading role, but how the promotional narrative was crafted. Columnist Roberto Sadovski observed that critics praised Pitt’s performance, highlighting his "charm and humor." However, much of the coverage overlooked the actor's troubled past. This doesn't mean the media must constantly revisit controversies, but it shows how certain male narratives can be shaped to favor a redemption story.
From my perspective as a film and digital media researcher, this lack of scrutiny is also part of the spectacle. Brad Pitt isn't just the main actor; he’s proof that pop culture loves consuming stories of rebirth—as long as the protagonist is a "heartthrob," a white, straight, strikingly handsome man. This combination alone creates an aura of respectability that shields him from criticism. It’s also important to recognize that this stereotype of rebirth isn’t always rooted in accountability; it’s often driven by an appearance of emotional maturity and, most importantly, charisma.
The Double Standard in Gender: Industry and Aging
This contrast becomes even clearer when we examine what happens to women in similar circumstances. Actresses facing lawsuits or controversies—even on a much smaller scale—rarely get the chance to star in a $300 million film. In fact, many disappear from leading roles for years, if not forever. When they return, they are expected to explain, justify, and apologize. Meanwhile, male aging continues to be celebrated. At 61, Brad Pitt is still described as charming—a charm that, along with his accumulated prestige, reinforces the industry’s ideal of "maturity" for its male leads. Women in the same age group, however, are often described as "past their prime" for major roles. This double standard isn’t unique to Hollywood: it echoes in advertising, politics, and executive positions. It fosters the idea that men only improve with time, while women’s value declines. As a result, F1 also serves as a metaphor: a film about speed, competition, and power, starring someone who—like in real life—needed to start over after "accidents." But not everyone is granted fresh starts equally. Media forgiveness is often distributed according to criteria that rarely depend on merit.
When the Checkered Flag Waves...
F1 is more than just a race filmed in ultra-high definition. It reflects how modern popular culture is structured: a blend of technology, nostalgia, and storytelling that creates icons and reshapes reputations. The uncomfortable but inevitable question is: who has the privilege of reconstructing their image in front of everyone? When the checkered flag drops and the race ends, it becomes clear that the real privilege isn't just racing. It’s being allowed to step onto the track in the first place.
This piece was originally published as a monthly column on Media and Visual Culture for the Brazilian digital newspaper O DEMOCRATA. You can access the original text in Portuguese [here].