The trailers for Trap did what they needed to do. They sold the concert setting, the father-daughter framing, and the growing sense that something is deeply wrong without flattening the whole movie into a single gimmick.
The first trailer arrived in April 2024, when Warner Bros. was still dating the film for August 9. That first look established the movie’s identity quickly: stage lights, security presence, crowd pressure, and the uneasy sense that the entire event may be built around an unseen trap. A second official trailer followed in July and pushed the campaign further, leaning harder into the concert spectacle and Lady Raven material.
Official Trailer
Official Trailer 2
What the trailers showed
Trap needed a hook strong enough to make people curious before they knew the whole game, and the trailers delivered that. They also helped separate the film from the quieter dread of Knock at the Cabin by selling something glossier, louder, and more performative.
The movie’s marketing identity was tied closely to the concert environment and to Saleka Shyamalan’s Lady Raven persona. The trailers were selling a feeling as much as a plot: crowded, watched, overstimulated, and off-balance.
For related coverage, see the trailer post and the wider Trap archive.