Saturday, August 2, 2025
Home Blog Page 34

Glossier’s Glam Squad: Meet the All-Women Exec Team Revamping the Beauty Brand

0

Glossier, the beauty brand known for its millennial and Gen Z appeal, is entering a new era of revitalization as it welcomes three new faces to its all-women executive leadership team. The company recently announced the promotion of Kleo Mack to the role of chief marketing officer. Mack, who previously held the position of senior vice president, global marketing, replaces Ali Weiss, who left Glossier last July.

Kleo Mack brings a wealth of experience to her new role at Glossier, having spent six years at L’Oréal before joining the beauty brand in 2021. Glossier’s announcement highlights Mack’s accomplishments in increasing brand awareness among young American women to an impressive 50%, as well as the successful launch of Swiss Miss Glossier Balm Dotcom.

Glossier also welcomed Chitra Balireddi as its new chief commercial officer. Balireddi will be responsible for managing ecommerce, retail, and wholesale operations at the company. With a strong background in similar roles at prestigious companies like Chanel and the Boston Consulting Group, Balireddi is poised to make a significant impact at Glossier.

In addition to the new hires, Glossier promoted Marie Suter to the position of chief creative officer. Suter’s creative expertise will be invaluable in shaping the brand’s future aesthetic and product offerings.

Glossier CEO Kyle Leahy expressed confidence in the new leadership team, stating in the announcement, “Glossier is a generation-defining brand on year 9 of a 100-year trajectory.”

The beauty brand has faced its share of challenges in recent years, like many direct-to-consumer (D2C) businesses. Layoffs and management changes have marked Glossier’s journey, as well as the underwhelming performance of Glossier Play, a line of vibrant cosmetics. Recognizing the limitations of its all-digital, D2C business model, Glossier made the strategic decision to move into wholesale.

Last month, Glossier products became available in 600 Sephora stores across the United States and Canada. However, the company remains committed to its own experiential retail stores, boasting locations in cities like Brooklyn, Atlanta, Washington D.C., London, Los Angeles, Philadelphia, and Seattle.

In a nod to its revitalization efforts, Glossier recently reopened its flagship store in New York City’s SoHo neighborhood. The New York Times dubbed the store “a selfie palace, a Gen Z beauty Disneyworld,” signaling that Glossier’s appeal to its target audience remains strong.

One notable feature of the flagship store is a large New York City subway-style mosaic, showcasing white, red, and pink tiles forming roses. The brand’s empowering mantra, “You look good,” is artfully integrated into the tile design, reflecting Glossier’s commitment to making its customers feel confident and beautiful.

As Glossier enters this new phase of rebuilding, the all-women executive leadership team, with its fresh perspectives and extensive experience, is poised to guide the brand to even greater heights in the world of beauty and retail. With a renewed focus on expanding its reach and enhancing the customer experience, Glossier is set to continue its evolution as a generation-defining brand.

Is Netflix Dropping Microsoft Advertising?

0

In July 2022, Netflix announced a partnership with Microsoft that was expected to generate billions in advertising revenue for the streaming giant. However, sources report that Netflix is now considering alternative options for its advertising technology, including the possibility of in-housing its ad tech. Netflix has hired high-profile expert advisors to explore its options, with one potential outcome being Netflix building or buying its own technology.

The current partnership with Microsoft is set to run for two years, with an option for both parties to renew in 2024. In the meantime, Netflix has retained the services of Jon Whitticom, formerly of Comcast’s ad tech unit FreeWheel, as its “advertising platform advisor” to help with its “build or buy” deliberations.

Sources familiar with the conversations suggest that Netflix is exploring the possibility of building its own ad server to reduce its reliance on Microsoft’s ad technology. Another option could be for Netflix to purchase ad tech assets, although no sources have reported direct knowledge of such conversations. Early-stage explorations of any potential acquisition targets were deemed a “highly logical” outcome.

“If you’re serious about it, you’ll want to in-house, particularly if you’re that size,” said one source familiar with the technical nature of the discussions. When Microsoft was named Netflix’s “global advertising technology and sales partner,” it was something of a surprise, with Comcast and Google’s ad tech suites tipped as frontrunners ahead of the eventual announcement.

Sources say that the video ad tech tools within Microsoft’s ad tech unit Xandr fell short of initial expectations. Although Netflix executives have publicly highlighted some areas it seeks to focus on, media buyers were taken aback by the $65 CPM prices they were quoted in the run-up to the debut of the commercial-backed service in November.

Madison & Wall’s Brian Wieser said that most players of Netflix’s profile will have to consider the “build or buy?” conundrum when choosing to run an ad-supported offering and that both options have drawbacks. Building takes a while, but buying another entity with a full ad tech suite could mean paying for something you’re not going to get.

From Couch Potatoes to Conversions: The Power of CTV Advertising

0

Connected TV (CTV) and over-the-top TV (OTT) advertising have taken the marketing world by storm, providing brands with a powerful new tool to reach their target audiences. With many advantages over traditional TV advertising, CTV and OTT have become a popular choice for businesses of all sizes. In this guide, we will cover everything you need to know about setting up and measuring CTV ad campaigns, from how it works to the key considerations for advertisers.

The shifting trends in media consumption have altered the media landscape in recent years. Streaming services have become increasingly popular, and more and more people are cutting the cord on cable subscriptions and satellite TV. As a result, advertisers have had to adapt to these changes to remain competitive. Connected TV advertising has emerged as a cost-effective and highly targeted solution for reaching audiences.

CTV is delivered on large-screen devices, like the TV in the living room, and is often delivered within streamed content through services like Netflix and Disney+. It can also be streamed through smart TVs, Blu-ray players, and game consoles like PlayStation and Xbox. CTV provides significantly better targeting capabilities than traditional TV, boosting efficiency and amplifying ROI. It is immensely popular, reaching 204.1 million worldwide viewers in 2022, according to Insider Intelligence.

OTT, on the other hand, is delivered on smaller-screen devices like tablets and smartphones, and it connects advertisers with fewer people. Both CTV and OTT can also include video-on-demand (VOD) services. Linear TV, or traditional television programming delivered by satellite or cable, is generally only available on larger screens in the living room, den, or bedroom. Programming is consumed linearly, meaning viewers watch episodes as they air and in the order they air.

The benefits of CTV advertising include cost savings via programmatic buying, powerful targeting capabilities, improved engagement, increased reach, access to detailed campaign metrics to inform future advertising decisions, high-quality delivery of visual ads, enhanced opportunities for interactive campaigns, and easy integration with new platforms.

Setting up a CTV campaign requires specific steps, starting with understanding your target audience. CTV advertising lets you connect with almost any segment and helps you broaden your reach. You should also consider how others will receive your ads within the viewing group. Next, define your goals, such as whether you want viewers to purchase a product or service, learn more about your offering, or connect with your brand elsewhere. Choose your platforms with care, considering the type of content your audience gravitates toward and how each platform handles ads.

Creating effective video campaigns is essential for capturing the attention of CTV audiences. Your content has to match the quality of premium content that is broadcast on these platforms. Today’s sophisticated audiences expect company-produced content to be polished and professional. Various ad formats will be essential to help capture different types of screen sizes, but making a storytelling video that’s “ready for primetime” is probably your biggest hurdle.

To measure CTV effectiveness, primary KPIs to include in your dashboard are reach, impressions, viewability, ROI, completion rate/viewer engagement, frequency, and conversion rate. CTV ads will likely produce more view-through than first-time click-through conversions, so it’s important to give your audience time to absorb and catch up with your brand across all your placements. Your advertising metrics can create audience segments and guide your campaign’s performance, allowing for clear attribution and precision.

As more and more people shift away from cable and satellite to streaming platforms, CTV advertising looks set to continue its rise in popularity. However, not all platforms are created equal, and advertisers should dig deep to determine which streamers best suit their connected TV efforts. They should then create evocative ad campaigns based on actionable, meaningful goals supported by KPIs to measure progress and success. By taking

Pluto TV’s EyeQ: The Future of Holistic Streaming Advertising

0

Pluto TV is the largest FAST (Free Ad-supported Streaming TV) platform globally, with over 80 million monthly active users in the US alone. But what makes Pluto TV stand out from the rest of the streaming services in the Paramount universe is EyeQ, its premium video advertising platform.

EyeQ was created to make it easy for advertisers to buy across the entire Paramount streaming universe. This holistic approach allows Pluto TV to pair paid services like Paramount+ with a FAST like Pluto TV, giving advertisers a very attractive offering.

But for many buyers who have traditionally worked in TV, the word “programmatic” can be intimidating. Christo Owen, SVP, Advertising Business Development & Programmatic at Pluto TV, assures that Pluto TV is doing everything it can to simplify the process for its clients.

“Our goal is to try to normalize everything, to make it simple to understand and simple to buy,” he said. “Ultimately, that’s the goal—to convey that programmatic is not a scary thing, but rather, a simple and straightforward next conversation.”

Creating the tech stack for EyeQ was no easy feat. It took two years to pull together the entire EyeQ tech stack, and it involved combining three different tech stacks into one. But in the end, Pluto TV believes it has the best-in-market tech stack that guarantees the best of TV on streaming, and allows for real-time execution.

One major problem in streaming is overfrequency. But Pluto TV has a centralized brain through EyeQ that allows for multiple lanes to come in together without breakage in terms of overfrequency. By integrating everything together, Pluto TV can control frequency management and user experience.

In the end, Pluto TV’s EyeQ and its commitment to simplifying the programmatic process for clients, creating the best-in-market tech stack, and preventing overfrequency, make it an attractive option for advertisers looking to reach a wide and engaged audience.

GumGum Takes the Lead in Providing a Safe Ad Environment

0

GumGum, the contextual first, global advertising platform, has announced that it is upgrading its ad exchange to include enhanced brand safety protection through Verity™, its proprietary and accredited contextual intelligence platform. The move positions GumGum as the first 100% brand safe exchange in the digital advertising industry. While this move is being touted as a step in the right direction, the question remains, can any programmatic ad platform truly be 100% safe?

In recent years, brand safety has become a top concern for advertisers, especially after some high-profile incidents where ads were served against extremist content. To address these concerns, many advertisers have turned to pre-bid solutions or their own safety filters. However, GumGum believes that it is its responsibility to ensure the safety of the supply side by integrating an additional layer of protection in its exchange with Verity.

Verity is the first independent ad tech platform to have been granted content-level accreditation by the Media Rating Council (MRC) for contextual analysis, brand safety, and suitability across the web and CTV. This accreditation was granted due to Verity’s sophistication and ability to analyze all content signals within a digital environment, including text, images, videos, and audio, to ensure ads are not served against extreme and unsafe content.

By integrating Verity across its ad exchange, GumGum aims to provide a safe environment for brands and agencies to advertise in. Adam Schenkel, EVP of Global Platform Strategy and Operations at GumGum, said, “We want brands and agencies to know that when they buy from GumGum’s ad exchange, they can always rely on brand safety and suitability protection, whether that’s through our exchange or PMP activity. Buyers can be assured that every ad we serve has been verified by Verity, creating a safe ad environment against extreme content.”

While this sounds promising, the reality is that no programmatic ad platform can be 100% safe. Advertisers and publishers alike need to understand that the internet is a constantly evolving and unpredictable space, and there will always be risks involved. It’s important to note that GumGum is not claiming to be 100% safe from all risks, but rather from brand safety concerns.

GumGum’s approach is one step towards building a safer environment for digital advertising. However, there are still other issues in the programmatic ad industry that need to be addressed, such as ad fraud and non-human traffic. To ensure quality inventory at scale and an efficient supply chain, GumGum has integrated MediaGuard by HUMAN into the exchange to remove non-human and fraud traffic. This integration is a positive step in the right direction to address these issues.

Another concern that advertisers have is the accuracy and reliability of the content they advertise against. To address this issue, GumGum has integrated with NewsGuard, which deploys real journalists to fact-check news publications to ensure content accuracy, reliability and access to high-performing inventory. This integration will provide brands and agencies with greater confidence in the quality of the inventory they are advertising against.

GumGum’s ad exchange offers higher quality ads and increased scale across thousands of premium publisher sites that are third-party verified. The exchange provides media buyers with unique, high-performing inventory that is exclusive to GumGum and can be accessed easily through a DSP without a managed deal or campaign by GumGum account teams. The exchange is also one of the industry’s highest concentration of direct to publisher integrations, which enables the company to provide the most direct route to premium, high-quality inventory for media buyers.

GumGum’s focus on inclusivity is also a positive step. The exchange will allow advertisers to maximize their KPIs by targeting audiences through customized segments such as multicultural and sustainability with standard and non-standard ad formats that are suitable for different devices and placements.

While no programmatic ad platform can truly be 100% safe, GumGum’s integration of Verity, MediaGuard by HUMAN, and NewsGuard into its ad exchange is a positive step towards providing a safer environment for brands and agencies to advertise in. The company’s focus on inclusivity and providing unique, high-performing inventory also makes it an attractive option for media buyers. However, it’s important for advertisers and publishers to understand that there will always be risks involved in digital advertising, and it’s up to all parties to take necessary precautions to mitigate these risks.

Collaboration is Key: Unlocking the Potential of First- and Second-Party Data Strategies

0

The age of relying on third-party data for media buying may be coming to a close, but don’t count out the power of collaboration just yet. Data clean rooms (DCRs) have emerged as a popular avenue for brands to uncover valuable insights, but they’re not the end-all-be-all solution to marketing strategies in the face of a looming recession.

While a DCR can help match audiences and allow brands to find the segments they want to target, it’s only useful if the data it’s fed is reliable and unified. That’s where customer data platforms (CDPs) come into play. By collaborating on parts of first-party data, brands can fill gaps where they lack the necessary information to thrive.

Take the example of a clothing manufacturer wanting to reach audiences about to embark on a sunny holiday. By collaborating with a travel agency and utilizing their first-party data, the clothing manufacturer can display complementary offers for its signature clothing to those who are about to take a relaxing vacation.

Second-party data collaboration is the key to maximizing the potential of DCRs, and brands must rethink how first-party data is integrated in a privacy-first data world. By building a flexible foundation to unify, activate, and acquire new and existing customers based on a consistent view of their first-party data, navigating the complex MarTech landscape is simpler than one may think.

As the advertising technology ecosystem continues to evolve, it’s time for brands to run, not walk, towards first- and second-party data strategies. By doing so, they can uncover valuable insights and stay ahead of the curve in a privacy-first world.

Third-Party Data Still Reigns Supreme in Programmatic Marketing, Survey Finds

0

Datonics, a digital data pioneer, has released the results of its Programmatic Audience Targeting Survey, shedding light on the use of third-party data in the programmatic ecosystem. The survey collected input from over 400 media strategists, planners, and buyers to explore the types of data used, factors in selecting a data provider, and data strategy planning initiatives.

According to the survey, third-party data continues to be an integral part of digital marketing strategy and execution, with 53% of respondents citing the use of third-party data in campaigns from an average of 11.9 data providers. The study also revealed the factors that media strategists consider when selecting data, with accuracy and relevancy being the most important.

“Third-party data remains extremely valuable to brands because of its unique ability to address various factors that other types of data such as zero, first, and second-party data can’t due to scale limitations,” said Michael Benedek, CEO, Datonics.

Datonics’ survey also explored data strategy planning in the face of technological evolutions, such as the deprecation of third-party cookies and loss of signal identifiers, as well as new privacy regulations. The survey found that the majority of media strategists, planners, and buyers are fairly concerned or more about industry changes when it comes to data strategy.

“The digital marketing industry is among the fastest evolving business sectors out there. We are used to change and being agile,” said Benedek. “With new technologies such as data clean rooms, identifiers and other data sources, marketers are looking to scale their audiences in new ways with third-party data.”

Datonics data is built on over 300 million monthly users covering 90% of North America, aggregated from a network of online websites and best-in-class specialty data partners, including 1,300 segments of search, intent, life-stage, behavioral, B2B, demographic, point-of-interest, and past purchase segments. Datonics also offers an unlimited number of custom segments that can be built from keywords or location visits.

The Programmatic Audience Targeting Survey underscores the continued demand for third-party data in the digital marketing and programmatic ecosystems for the special value it brings. It is still the data that marketers are relying on to help them reach new audiences and acquire customers. The full report is available on Datonics’ website for those interested in learning more about the survey’s findings.

Jenny Wall joins VideoAmp, Says goodbye to slime and hello to streaming

0

VideoAmp, a leading advertising measurement platform, has hired former Nickelodeon executive Jenny Wall as its Chief Marketing Officer, a newly created position. Wall, who has a proven track record in pairing data-driven performance marketing with genuine storytelling, will oversee brand and marketing strategy for VideoAmp as the company seeks to ink more major clients. VideoAmp provides measurement and optimization tools that bring together audiences across traditional TV, streaming video, and large digital and social media.

In her new role, Wall will be responsible for developing and executing VideoAmp’s marketing and brand strategies. With her experience as both a brand marketer and publisher, she is well-equipped to represent the voice of VideoAmp’s clients. Prior to joining VideoAmp, Wall served as CMO at Nickelodeon for three years and at podcast producer Gimlet Media, which was later acquired by Spotify.

Before that, she worked in marketing at Hulu and Netflix during the launch of titles such as “The Handmaid’s Tale,” “House of Cards,” and “Orange is the New Black.” Wall also led the marketing launch of Hulu’s ad-free SVOD service and the Hulu with Live TV OTT bundle. In 2002, she started her own digital agency, which later merged with Crew Creative, where she served as president, before acting as CMO for BLT Communications. She started her career at HBO with the team that launched the signature tagline “It’s not TV. It’s HBO.”

The creation of Wall’s position comes amid increased competition between audience measurement companies as streaming laps traditional television. VideoAmp and rivals like Innovid and iSpot.tv are aiming to provide alternatives to Nielsen, which is seen as overly dependent on linear TV. Wall’s appointment comes two months after VideoAmp struck an audience measurement deal with Warner Bros. Discovery. At the time, the entertainment conglomerate said it needed greater standardization, identity resolution, personification, and transaction capability of audiences on each platform.

NBCUniversal also partnered with VideoAmp last month for cross-platform audience measurement. The company also has deals with Paramount, Fox, and TelevisaUnivision. With her appointment, Wall will report directly to VideoAmp’s founder and CEO Ross McCray.

In a statement, McCray said Wall’s appointment was a strategic move to address the pain points of both media buyers and sellers. “We’re revolutionizing both sides of this process to create more value and drive more sales for advertisers,” he said. “Knowing the pain points of a brand CMO, while understanding the hurdles a publisher faces, solidifies our commitment to finding solutions for both sides and redefining the way media is valued, bought and sold.”

For her part, Wall said she is excited to join VideoAmp and solve the problems that plague marketers and their agencies. “The fact that my personal mission to solve these issues aligns with VideoAmp’s mission made it an easy decision to join,” she said. “Having a platform that acts as a one stop shop for making data-driven decisions, whether for planning, measurement or optimization, is a game changer.”

Wall’s appointment is a major boost for VideoAmp, which has been rapidly expanding its offerings to meet the changing needs of the advertising industry. With her expertise in performance marketing and storytelling, Wall is uniquely positioned to help the company take its brand and mission to the next level.

NotCo, Chile’s Revolutionary Plant-Based Food Company, Hires Industry Veteran Fernando Machado as CMO

0

NotCo, the Chilean-based food tech company that has revolutionized the plant-based food industry with its patented AI technology named Giuseppe, has announced the hiring of Fernando Machado as its Chief Marketing Officer. Machado, a well-respected marketer, and industry veteran, known for pushing creative boundaries to drive business growth, brings his decades of experience to NotCo, which has been valued at $1.5 billion.

Machado, who spent two years as CMO of Activision Blizzard, and seven years at Restaurant Brands International (RBI), where he oversaw the marketing for Burger King and Popeyes, is excited to apply his creativity to the NotCo team. NotCo’s success comes from its proprietary technology, which holds 12 patents in the US for its ability to recreate the same experience of animal-based foods, using only plant-based ingredients.

The company’s portfolio, which includes NotMilk, NotBurger, and NotChicken, can be found in over 10,000 stores in the US, disrupting multiple categories across 10 countries simultaneously. NotCo has also formed international partnerships with Burger King, Shake Shack, Starbucks, and Dunkin Donuts, and attracted celebrity investors like Roger Federer, Lewis Hamilton, and Questlove.

Machado’s hire comes on the heels of a successful round of funding to fuel NotCo’s new B2B Unit, which was created as a way to enable other CPG brands, ingredient suppliers, and technology providers to leverage Giuseppe for their own innovation purposes and exponentially accelerate the transformation of the plant-based industry. With Machado’s ingenuity and passion for the mission, NotCo is poised to continue its upward trajectory and further propel its growth through cutting-edge and creative marketing.

The Reign of King Broadcast: Will it Last in the Age of FAST TV?

0

Once upon a time, there was a kingdom called TV Land. In TV Land, there were two major kingdoms: Linear TV and FAST TV. Linear TV was ruled by King Broadcast, who had been in power for decades. FAST TV, on the other hand, was a young and dynamic kingdom that had recently emerged as a contender for the throne.

King Broadcast was a wise and experienced king who had ruled over Linear TV for many years. His kingdom was known for its editorially managed channels, where content was carefully curated, and schedules were planned months in advance. The channels were delivered to viewers through a variety of platforms, including satellite, cable, and IPTV. The people of TV Land had grown up with Linear TV and had come to love its familiar programs and comfortable routines.

But King Broadcast had a challenger. In the neighboring kingdom of FAST TV, there was a young and ambitious prince named Stream. Stream had inherited the kingdom from his father, who had been one of the first to recognize the potential of ad-supported free TV. Stream was different from King Broadcast. He was a risk-taker and an innovator. He was always looking for new ways to attract viewers and advertisers.

Stream had built his kingdom on the idea of FAST TV – Free Ad-Supported TV. He believed that viewers were tired of paying for TV and that they would be willing to watch ads if it meant they could access great content for free. His kingdom was made up of a collection of channels, each with a different theme or genre. Some of the channels were pre-recorded, while others were live. But all of them were available to viewers for free, with ads inserted into ad breaks.

The people of TV Land were divided in their loyalties. Some loved the familiar routines of Linear TV and saw no reason to switch to FAST TV. Others were curious about the new kingdom and eager to try out its free content. But there were also many who were confused by the differences between the two kingdoms. They wondered if FAST TV was just a collection of AVOD playlists or if it was a true competitor to Linear TV.

One day, King Broadcast decided to call a meeting of his council to discuss the challenge of FAST TV. He summoned his wisest advisors and asked them to help him understand the differences between the two kingdoms.

The council met in the great hall of the palace, where King Broadcast sat at the head of the table. His advisors sat on either side, looking grave and serious. The first advisor to speak was a man named Simon, who was an expert in media and advertising.

“Your Majesty,” said Simon, “the primary difference between Linear TV and FAST TV is the way they are delivered to viewers. Linear TV is delivered through a variety of platforms, including satellite, cable, and IPTV. FAST TV, on the other hand, is delivered through OTT – Over-The-Top – platforms, which are internet-based.”

King Broadcast nodded thoughtfully. “I see,” he said. “So, viewers can access FAST TV on their computers, smartphones, and streaming devices?”

“Yes, Your Majesty,” said Simon. “And because it is delivered over the internet, it is easier for viewers to access and for advertisers to target specific audiences.”

The second advisor to speak was a woman named Mary, who was an expert in programming and scheduling.

“Your Majesty,” said Mary, “another key difference between Linear TV and FAST TV is the way content is managed. Linear TV is editorially managed, which means that content is carefully curated and scheduled in advance. FAST TV, on the other hand, is more personalized. Viewers can choose the channels they want to watch and the content they want to see. They can even create their own playlists.”

King Broadcast furrowed his brow. “But how does that affect the quality of the content?” he asked.

Mary smiled. “That’s the thing, Your Majesty. Because FAST TV is more personalized, the content is more targeted and relevant to each individual viewer. It’s a more customized viewing experience.”

The third advisor to speak was a man named James, who was an expert in technology and innovation.

“Your Majesty,” said James, “one of the most significant differences between Linear TV and FAST TV is the way advertising is delivered. In Linear TV, advertising is delivered in set ad breaks, and viewers have no choice but to watch them. In FAST TV, advertising is more flexible. Advertisers can insert ads into content or provide interactive ads that viewers can choose to engage with.”

King Broadcast leaned forward. “That’s interesting,” he said. “So, advertisers can tailor their ads to specific audiences and make them more engaging?”

“Yes, Your Majesty,” said James. “And because FAST TV is delivered over the internet, advertisers can also collect data on viewer behavior and preferences, which they can use to improve their targeting and messaging.”

King Broadcast leaned back in his chair and pondered what he had learned. He realized that FAST TV was not just a collection of AVOD playlists, but a true competitor to Linear TV. He knew that he would have to adapt to the changing landscape of TV Land if he wanted to remain in power.

“Thank you, my advisors,” he said finally. “You have given me much to think about. We will need to explore new ways of delivering content and advertising if we want to remain relevant in this fast-changing world.”

With that, King Broadcast dismissed the council and retired to his chambers to consider the future of his kingdom. He knew that he would need to be more innovative and agile if he wanted to stay ahead of the competition. But he was determined to do whatever it took to keep Linear TV on the throne of TV Land.

WTF are Fake Virtual Influencers?

0

Influencer marketing has evolved to a new level as virtual influencers are becoming more popular among brands and consumers. The market was valued at $16.4 billion in 2022 and it has more than doubled since 2019, according to Statista. Virtual influencers are entirely digital beings typically made to look human so followers can experience a similar trust they feel with human influencers. Some virtual influencers have millions of followers and have worked with major brands like Dior, Calvin Klein, Balmain, Balenciaga, Prada, and more.

Virtual influencers are fictional computer generated ‘people’ who have the realistic characteristics, features, and personalities of humans. They are created by individuals or companies who remain faceless and are responsible for growing their virtual influencers’ social media platforms and moulding them into internationally recognized influencers. These creators choose the way their virtual influencers look, dress, and act, and they also decide who they hang out with, date, fall out with and collaborate with on Instagram.

Behind each virtual influencer are machine learning algorithms and OpenAI, which enables them to interact with their followers more naturally. As technology advances, virtual influencers will become more realistic, blurring the line between real and virtual humans.

Virtual influencers offer brands several benefits. First, they often deliver free publicity. Second, they are easier to control than human influencers, albeit more expensive to create. Third, there are barely any limitations with virtual personas – they can be whoever a brand wants them to be, exist in whatever worlds they choose, and do whatever makes sense for the demographic a brand is trying to target.

Influencer Marketing Factory’s survey in 2022 found that 58% of respondents followed at least one virtual influencer, and 35% of consumers said they had purchased a product promoted by one, with those between 18 and 44 being the most likely to do so. These numbers are likely higher now.

The rise of virtual influencers also means that they are being integrated into the metaverse, a virtual world where people can interact with each other in real-time. The metaverse offers endless possibilities for virtual influencers to connect with their audiences in a more immersive way.

However, some critics argue that virtual influencers can be deceptive as they are not real people. The trust that consumers place in influencers comes from the perception that they are genuine, relatable, and authentic, but this perception can be difficult to maintain with virtual influencers.

Despite these concerns, virtual influencers are becoming a real force to be reckoned with in the influencer marketing industry, with more of them emerging on Instagram every week and more brands queuing up to get involved with this futuristic means of marketing. Brands need to be aware of this trend and should consider collaborating with virtual influencers to reach out to a whole new type of audience. Virtual influencers will give brands more control over their collaborations, and mistakes can be fixed within minutes, giving brands greater flexibility.

As technology advances and the lines between virtual and real become even more blurred, virtual influencers will become more sophisticated and human-like. The rise of virtual influencers is just the beginning of a new era in influencer marketing, and it will be exciting to see where this trend will lead us.

Why Mark Zuckerberg Abandoned the Metaverse for AI, and Why You Should Care

0

The news spread quickly through the tech industry and beyond. Mark Zuckerberg, the billionaire tech tycoon and CEO of Meta Platforms, had quietly abandoned his grand plan for the metaverse, the immersive virtual world that was supposed to be the Next Big Thing.

There was no press release, no big announcement. Just a few hints here and there, buried in blog posts and earnings calls, that the metaverse was no longer the top priority for Meta. Instead, the company was shifting its focus to artificial intelligence, or AI, a field that many experts consider to be a true technological revolution.

For those who had followed Zuckerberg’s ambitious plans for the metaverse, the news was a shock. The CEO had invested billions of dollars into the project, creating a dedicated division called Reality Labs that was supposed to be the driving force behind the new virtual world. But despite all the hype and buzz, the metaverse had failed to take off, and now it seemed that Zuckerberg was quietly burying the project and moving on to something else.

Some critics saw this as a sign of Zuckerberg’s hubris and excess, comparing him to the French king Louis XIV, who famously declared, “I am the state.” Others saw it as a savvy move by a shrewd businessman who knew when to cut his losses and move on to the next big thing.

Either way, the news had far-reaching implications for the tech industry and beyond. The metaverse had been hailed as a new frontier for social media, a place where people could interact with each other in immersive, lifelike environments. It had been touted as a potential solution to many of the problems facing modern society, from loneliness and isolation to climate change and inequality.

But now, it seemed that the metaverse was dead. The dream of a new virtual world had been shattered, and those who had invested time, money, and energy into the project were left to wonder what had gone wrong.

For Zuckerberg, the decision to abandon the metaverse was a difficult one. He had been one of its biggest advocates, predicting that it would be the next big thing after the internet and mobile phones. He had even renamed his company Meta Platforms in a nod to the new virtual world he was trying to create.

But as time went on, it became clear that the metaverse was not living up to its hype. The technology was still clunky and expensive, and there were few compelling use cases beyond gaming and entertainment. Meanwhile, the costs of developing the technology were spiraling out of control, with Meta’s Reality Labs division recording losses of nearly $24 billion over two years.

Zuckerberg knew that he had to make a change. He had always been quick to adapt to new ideas and trends, and he knew that the tech industry was moving in a new direction. Artificial intelligence was the new buzzword, and Zuckerberg saw an opportunity to pivot his company towards this new field.

In a blog post in February 2023, Zuckerberg announced that Meta was creating a new top-level product group focused on generative AI. The company would be pulling together its various AI teams to build new, creative tools that could help people in a variety of ways.

It was a bold move, but one that Zuckerberg believed was necessary. AI was already transforming the way we interact with technology, from chatbots that could answer our questions to virtual assistants that could carry out tasks for us. With the rise of AGI, or artificial general intelligence, machines would soon be able to outperform humans at most economically valuable work.

Zuckerberg saw the potential for AI to transform not just the tech industry, but society as a whole. He believed that AI could help solve many of the problems that the metaverse had promised to solve, from loneliness and isolation to climate change and inequality.

With generative AI, Zuckerberg envisioned a future where machines could create art, music, and literature that rivaled that of human creators. He saw a future where AI could help scientists discover new drugs and treatments for diseases, and where it could help farmers optimize their crops and reduce waste.

The shift towards AI was not just happening in the tech industry, but in other sectors as well. Governments around the world were investing in AI research and development, seeing it as a key driver of economic growth and competitiveness. AI was also being used to solve complex social problems, from healthcare and education to transportation and public safety.

But the rapid pace of AI development was also creating new challenges. As machines became more intelligent and autonomous, there were growing concerns about the impact on employment and the workforce. Some experts predicted that AI could replace up to 40% of jobs in the next decade, creating a wave of job displacement and economic disruption.

There were also concerns about the ethical and social implications of AI. As machines became more intelligent and autonomous, there was a risk of unintended consequences and unforeseen outcomes. Some experts warned of the potential for AI systems to perpetuate bias and discrimination, or to be used for nefarious purposes by bad actors.

To address these challenges, Meta and other tech companies were investing in AI ethics and governance. They were developing new frameworks and principles for responsible AI development, and working with policymakers and stakeholders to ensure that AI was developed in a way that was safe, ethical, and beneficial for all.

As the focus shifted towards AI, some wondered if the hype around the metaverse had been misplaced. Had we been too quick to embrace the idea of a new virtual world, without fully considering the challenges and limitations of the technology?

As Meta shifted its focus to AI, other tech companies were also taking notice. Google, Microsoft, and Amazon were all investing heavily in AI research and development, and startups were popping up left and right, each claiming to have the next big breakthrough in AI.

It was clear that AI was the new frontier for the tech industry, and that the race was on to create the most powerful and transformative AI systems.

As for the metaverse, it was not completely dead. Some companies were still working on developing virtual worlds and immersive environments, and there were still enthusiasts who believed that the metaverse could one day become a reality.

But for now, the focus had shifted to AI, and the world was waiting to see what new innovations and breakthroughs would emerge from this exciting and rapidly-evolving field.

Wunderkind Names Bill Ingram as CEO to Scale Up Performance Marketing Game

0

Wunderkind, the performance marketing solution that has been a go-to for brands, publishers, and advertisers, is set to soar higher with the appointment of a new Chief Executive Officer, Bill Ingram. The company has been delivering guaranteed revenue and top-notch performance for its clients for some time now, and with Ingram’s 30 years of experience scaling tech start-ups and driving product development and growth, it is poised to reach even greater heights.

Ingram’s previous roles at Cheetah Digital, Adobe, Sybase, and Omniture, where he helped to build and lead top-tier SaaS organizations, has prepared him for his role as CEO at Wunderkind. His appointment comes at a time when the company is experiencing a surge in growth and revenue, with major milestones achieved in 2022. Wunderkind secured $76M in Series C financing, a 34% year-over-year revenue gain, and expanded its global reach by opening offices in Australia, Canada, and the Netherlands.

In his role as CEO, Ingram is expected to take Wunderkind’s products and services to new heights while maintaining its industry-leading revenue guarantee. He will focus on expanding the company’s product suite for leading publishers to engage consumers in a non-intrusive manner that fosters increased brand visibility and qualified engagement. Additionally, he will lead the team towards ensuring that Wunderkind’s solutions continue to help advertisers reach their priority audiences while delivering a quality user experience across a network of premium publishers.

Wunderkind’s success in helping its clients achieve more than $1B in directly attributable revenue during the 2022 holiday season, despite a challenging macroeconomic climate, is a testament to the company’s prowess in the performance marketing industry. The company has added several premium publishers and global retailers to its client roster, including Rag & Bone, Refinery29, JLo Beauty, Uniqlo, e.l.f. cosmetics, Swatch, and Outdoor Voices.

Stephen Collins, Wunderkind’s Board Chairman, has expressed confidence in Ingram’s leadership, industry expertise, and success in scaling global technology organizations, stating that he believes it will bring a new era of growth and success for Wunderkind’s customers, partners, and employees alike.

Ingram’s vision for the company is to transform channels once perceived as top- and middle-of-funnel into significant revenue drivers. As he leads Wunderkind’s all-star team into a new chapter of strategic innovation and proliferation, the company is poised for continued acceleration in 2023 and beyond.

FuboTV Scores Big: Hits $1 Billion in Annual Revenue with Sports-First Strategy

0

FuboTV, the sports-first virtual MVPD, hit a major milestone in 2022, reaching $1 billion in global annual revenue for the first time. Despite raising prices and tacking on extra fees, FuboTV executives reported encouraging early churn trends, and they rebuffed concerns over increased sports competition from fellow vMVPD YouTube TV. In North America, FuboTV saw streaming revenue climb 55% year over year to $984 million for 2022, with Q4 subscription revenue of $278 million, up 36% year over year. FuboTV ended the period with 1.44 million subscribers in North America and an average revenue per user of $75.20 in Q4. In this article, we will explore how FuboTV achieved this growth and what lies ahead for the virtual MVPD.

FuboTV, which offers a sports-first focused TV lineup, competes with cable and other vMVPDs such as YouTube TV, Hulu with Live TV, and Sling TV. The virtual MVPD has been aggressive in acquiring sports programming, making it a popular choice for sports fans. FuboTV offers more than 35 regional sports networks, including at least one available to every U.S. subscriber. In addition to offering sports programming, FuboTV has expanded its offerings to include news, entertainment, and movies.

In North America, FuboTV recorded $100 million in advertising revenue, and Q4 ad revenue in the region was up 30% year over year to $33.6 million. FuboTV’s success in advertising revenue can be attributed to its targeted ads, which allow advertisers to reach specific audiences. FuboTV’s audience is primarily sports fans, which makes it an attractive platform for advertisers looking to reach this demographic.

FuboTV’s success in reaching $1 billion in global annual revenue for the first time is a testament to its strategy of focusing on sports programming. According to FuboTV CEO and co-founder David Gandler, users are spending an average of more than 100 hours per month on the streaming TV’s platform, and the company is feeling confident about further growth. Gandler noted that there are still over 60 million households in the U.S. that have cable, and FuboTV is pulling customers from that pool.

FuboTV’s success in the streaming market has not gone unnoticed, and it faces competition from other vMVPDs such as YouTube TV. However, FuboTV leadership is not concerned about YouTube TV’s recent acquisition of the NFL Sunday Ticket package. FuboTV has focused on acquiring regional sports networks, which Gandler notes has a significantly larger total addressable market than the Sunday Ticket package.

FuboTV’s leadership is optimistic about its future growth, and the company anticipates maintaining double-digit subscriber growth in 2023. FuboTV expects to end 2023 with between 1.51 and 1.53 million North American subscribers, up from 1.44 million at the end of 2022. The company has set its target of 2 million subscribers in 2025 and plans to reach profitability by that year.

In conclusion, FuboTV’s success in the streaming market is a testament to its strategy of focusing on sports programming. The virtual MVPD has recorded impressive growth in revenue and subscribers, and it faces competition from other vMVPDs such as YouTube TV. FuboTV leadership is optimistic about its future growth, and the company anticipates maintaining double-digit subscriber growth in 2023. FuboTV’s success in advertising revenue can be attributed to its targeted ads, which allow advertisers to reach specific audiences. Overall, FuboTV’s future looks bright, and it will be interesting to see how it continues to compete in the crowded streaming market

Data, Dance, and Daring Campaigns: Erin Levzow’s Approach to Building Loyalty

0
How Mango Habanero, Metrics, and Masterful Moves Redefined Marketing Genius Every so often, a guest comes along who doesn’t just raise the bar—they throw it into orbit. Erin Levzow is one of those guests. From the moment she joined The ADOTAT Show, it was clear we were in the presence of brilliance. Erin is a marketing powerhouse, blending emotional intelligence with razor-sharp strategy, all wrapped in a package of humor, humility, and dazzling storytelling. She’s the...

Streaming’s Big Lie: The Future of TV Is Already Broke

0
Streaming was supposed to be the savior of TV—the rebellious new kid with no commercials, endless content, and an open bar of binge-worthy dopamine hits. But, as Doug Shapiro’s sharp, no-BS research reveals, the revolution is out of cash and looking for a loan. Streaming doesn’t just monetize less—it barely monetizes at all. For every streaming dollar generated, old-school pay TV is making it rain with three dollars in subscriber fees and seven dollars...

How to Narrow the Scope of Information Sought by an FTC Civil Investigative Demand (CID)

0
A civil investigative demand (“CID”) is the instrument by which the Federal Trade Commission exercises its compulsory process authority in connection with investigations.  CIDs may require the production of documents - including electronically stored information – or tangible things, the provision of testimony, and the providing of written responses to questions. A CID must state the nature of the conduct constituting the alleged violation which is under investigation and the provision of law applicable to...

Did Your Company Receive a Letter From the FTC?  FTC Warning Letters and Notices of Penalty Offense

0
Recipients of FTC warning letters and notices of penalty offense should be on high alert and act quickly. Their advertising and marketing practices could be in violation of applicable legal regulations. What is an FTC Warning Letter? Federal Trade Commission “warning letters” are intended to warn companies that their conduct is likely unlawful and that they can face serious legal consequences, such as a federal investigation or lawsuit, if they do not immediately stop. ...

The Good, the Bad, and the SPO-ly

0
The Hidden Flaws Behind Ad Tech’s Favorite Buzzword. Supply Path Optimization (SPO) is my love-hate relationship in ad tech personified. It’s the reason I fell for this industry’s maddening brilliance—and why it sometimes feels like a bad rom-com where no one learns their lesson. At its core, SPO promises efficiency, transparency, and accountability, and when it works, it’s like watching a Rube Goldberg machine perform flawlessly. But when it doesn’t—and let’s be honest, that’s most...