Lego urges girls to ignore gender stereotypes and ‘play unstoppable’

The FIFA Women’s World Cup starts on July 20th, and Lego is getting ahead of the game with its new “Play unstoppable” campaign, an inspirational piece about throwing off gender stereotypes and doing what feels right for you,

It features international footballers Megan Rapinoe (USA), Yuki Nagasato (Japan), Sam Kerr (Australia) and Asisat Oshoala (Nigeria) but it’s not only about football — it also shows other sports as well as fashion, gaming, and music.

Julia Goldin, chief product and marketing officer at the Lego Group, said: “Women’s football is a powerful reminder of what girls can do when they break free from stereotypes – our four footballers are players at the top of the game. As strong women on and off the pitch, they are inspirations for girls everywhere to realise their potential.”

The film was created by the APAC Lego agency’s in-house creative team and directed by Danielle Katvan at 1stAveMachine.

MAA creative scale: 5

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Dannon Light + Fit yogurt rebrand: Danone VP Surbhi Martin on plans

While Fage introduced Greek yogurt to the U.S. in 1998, the category did not take off until 2009 with the rise of Chobani. Since then, Greek yogurt has continued to grow from $4 billion in the U.S. in 2018, to an estimated $5 billion this year, according to Grand View Research.

But with growth, comes fragmentation and specialization—different brands now meet consumers’ needs for higher protein, lower sugar, or no sugar options. Dairy giant Danone is among the marketers trying to find its place in this environment. Surbhi Martin, VP of Greek yogurt and functional nutrition at the company, joined Ad Age’s Marketer’s Brief podcast to talk about the state of the category, and what Danone’s Dannon Light + Fit brand is aiming for with its recent rebrand.

“The entire rebrand was really intended to reignite growth for the Light + Fit brand, by recruiting a younger consumer, while also maintaining a really loyal core user base,” Martin said.

More from Ad Age: Danone set to consolidate global creative

Through consumer insights, Martin’s team found that potential customers saw Light + Fit as their “mom’s yogurt” and a diet brand. Digging deeper, they discovered that younger consumers were tired of dieting, and wanted to feel more in control around food.

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Why rising food prices are also a looming threat for marketers and agencies

UK food prices are still increasing at an annual rate of nearly 20%, with the ever-escalating costs hitting poorer families hardest.

Yet the Government’s polite request (in the circumstances) to retailers and producers to rein them in has drawn a predictable, if rather sad, chorus of complaints from the industry. Asda chairman Stuart Rose (interviewed on the BBC below), usually one of the UK’s more balanced businessmen, has led the charge, saying there’s no way food prices will come down with increased costs still in the pipeline. Trade body the British Retail Consortium has waded in too.

But Asda’s Rose knows only too well that such raw material costs aren’t the only reason for rising prices. Asda is now owned by the Issa brothers, with private equity assistance, who are planning to merge their heavily borrowed petrol station empire with Asda (also heavily borrowed since the brothers bought it for £6.8bn.) Their petrol stations will cost the merged Asda entity another £2.3bn.

Such deals add exponentially to the costs of a business, especially in a period of rising interest rates. So Asda price hikes on groceries (and soon, no doubt, petrol) are not all down to Vladimir Putin and supply chain problems. Similarly Morrisons was bought by private equity two years ago, in a deal engineered by former Tesco boss Terry Leahy, for £6bn. Prices went up.

And who says that food prices shouldn’t be reined in? It was tried in the 1970s when it wasn’t a success but there was far less consolidation in the food market then. Companies, others include Tesco and Sainsbury’s, don’t have divine a right to make hundreds of millions in profit at the expense of their customers. A billion profit, which Tesco makes, gives you a lot of leeway.

So how do such “benefactors” promote themselves? Morrisons has just launched its first campaign through Leo Burnett, Sainsbury’s has moved to New Commercial Arts, Asda has fairly recently landed at Havas.

Price will play a part obviously (Tesco is betting the ranch on lower Clubcard prices, Sainsbury’s on Nectar) but all the off-screen noise is about high supermarket prices. There’s a danger you’ll seem out of touch or just plain deaf if you boast about prices.

You can bet that whenever one of these launches its next big campaign, there’ll be no mention of budget. Headlines like “supermarket X to spend £20m on telly ads when prices are going though the roof” is manna from heaven for the Mail and the Sun. Do they just keep keep quiet?

The first big UK supermarket to freeze staple product prices at a reasonable level (that is, lower than they mostly are now) stands to win a big reward even if shareholders (especially the private equity gang) will squeak with dismay.

Have any of these managements the cojones to grasp this particular nettle? Should their shiny new agencies be telling them this is the way to go? Agencies are supposed to advise on strategy after all, there are more than enough CSO’s around.

Creating shareholder value, the quasi-religious hymn sheet all these managements work from, should be a long term as well as a short term strategy.

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Generative AI—how to create diverse, inclusive and legal content

A good practice is to build a repository of diverse human keywords to use when prompt building, denoting age, race, gender, location, mental or physical conditions, socioeconomic class and education. Much like generative AI, you may find yourself building on that and getting smarter as you go.

Create ethical prompts

By creating ethical prompts, we can make sure that generative AI produces content that is responsible and serves the greater good. Remember—the output is only as strong as the input. When generating copy for campaigns or idea concepts, encourage the model to respond with kindness, empathy and inclusiveness in order to represent diverse perspectives and experiences in a respectful way.

Then, use your human lens as a filter for what to keep, what to leave behind and what to change manually.

Ask for factual responses

To make sure that you’ll get an accurate (at least as accurate as possible) response from AI, it’s important to add relevant context and keywords when asking a question. For example, “Provide an example of …” might give you a fictional example for illustrative purposes (without alerting you that it isn’t real). Try instead, “Provide a real example of …”

Additionally, it’s crucial to request a source for any results provided by the AI. Keep in mind that whatever the result, even with a source provided, you must be sure to check the link, facts, and images. Literally say, “Provide a source” so you can evaluate the efficacy of the responses.

Minimize copyright issues and protect confidential information

Don’t use references to individual artists authors, companies, brands, sports teams, song lyrics, celebrities or real persons that could influence the final output. For example, you should avoid prompts such as “in the style of Andy Warhol” and instead describe the style to achieve similar results, such as “in pop art style.”

Additionally, it’s important to understand that whatever is collected and generated using these Generative AI tools is then fed back into the system as additional data/parameters. This means you should never upload or share confidential or client-sensitive material to these platforms, as they may then be made public.

Generative AI has immense potential but is still in its infancy. It needs human wisdom that comes from having both succeeded and failed to bring out its best. Generative AI will be inclusive and therefore at its most potent when our inputs do the same.

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TMW Unlimited wins Pride in London as the movement hits a turning point

Over the last 50 years of societal change, Pride has evolved from its more political roots to become a marketer and family-friendly event, an inclusive celebration of diversity whose only controversy is too many brands jumping on the rainbow bandwagon.

This year, however, it looks like returning to its more radical roots. In the US, anti-trans activism has spilled over into an anti-LGBTQI+ backlash. Protesters have been confronting customers and staff at Target, for example, over its Pride displays in store. The retailer has pulled merchandise in order to safeguard employee safety.

The result of this kind of hate campaign is that Pride, celebrated in London on the weekend of July 1st, is more important than ever.

Agency TMW Unlimited has won a two-year contract with Pride, after a pitch, with a brief to celebrate trans allyship at this year’s march. TMW will also provide strategic and creative support throughout the year, using its Human Understanding Lab to measure the campaign’s impact.

Over 1.5 million people attended last year’s parade, which was the 50-year anniversary of the original march and was accompanied by an #AllOurPride campaign to link the last five decades of activism with the current achievements – and struggles – of the LGBTQIA+ community.

Chris Mellish, CEO of TMW Unlimited, said, “This is a dream brief for us. It’s an honour to have the opportunity to create behaviour change work that can tangibly improve people’s lives. We want to create something remarkable that makes a difference for a community that needs and deserves support. Our shared ambition is to channel the spirit that has defined Pride in London for the last 50 years to create a platform for those who need it most.”

Asad Shaykh, group strategy director, Pride in London, said, “Last year was an incredible celebration of 50 years of Pride and the pioneers who made it happen, but we now want to shift the priority from reflection to reaction, and highlight the contemporary struggles of our trans siblings.”

Let’s hope the US toxicity doesn’t infect the UK Pride events. Despite a tense build-up, gender-critical academic Kathleen Stock managed to talk at the Oxford Union last night in an environment where all voices were heard – so let’s hope that Pride gets it turn too.

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The power of positive representation: WACL’s first TV ad lives in a hopeful future

WACL is making a big splash for its 100th anniversary. First there was the Mad Women documentary on Channel 4, and now there’s an ad campaign, supported by Unilever’s Dove and running on ITV, Sky and Channel 4 as well as online and in print.

Seen through the eyes of young girls watching ads, the voiceover tells us that they will one day love their wrinkles, feel body-confident doing the sports they love, and learn to love their natural hair.

Claire Sadler, chief marketing & fundraising officer, British Heart Foundation, is leading the campaign for WACL. She said: “We wanted to recognise the role and influence we have in championing positive representation of women in advertising. And look ahead to amplify the voices of the next generation of women and girls to make sure advertising is fit for their future.”

ITV’s head of creative, Vineet Raheja, was creative director for the TV ad, and British Heart Foundation’s head of creative, Helen Arnold, was creative director for print, OOH and digital. Media donors include ITV, C4, Sky, Guardian, Metro, Global Outdoor, Clear Channel, Meta, Amazon, and MiQ.

There’s no doubt that advertising plays a role in shaping social norms – or at least reinforcing them – although this spot focuses on the girls’ attitudes to appearance rather than their role in society.

That could be down to the Dove tie up, or because there still aren’t enough examples of ads where women do normal stuff, even though they make 85% of consumer purchases.

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Top 5 creative ads: DeeVa Toys, Meow Wolf, Liquid Death, Corona, Apple

1. Apple: Waiting Room
Agency: TBWA\Media Arts Lab

The knock on Apple’s marketing these days, if there is one, is that it can be a little corporate, a little inflexible to fun. And while, yes, the brand’s hefty ad budgets can sometimes lead to spots that are heavier on craft than storytelling, other times they get the balance right. For example—this new spot about privacy. Compared to its 2022 privacy spot, which was dazzling to watch yet felt (to us) a little sterile, this new ad is more relatable and entertaining—even as it retains an appealingly cartoonish aspect. The writing and direction, as usual, are top-notch here. But the punchy, malevolent voiceover (from Jane Lynch) breathes new life into Apple’s villain story—a VO being such a clever way of personifying the hidden forces endeavoring to nab your data. As in the marketer’s lauded “Underdogs” series, the character sketches here matter as much as the product features—putting humanity and technology in sync in a way you can actually enjoy, not just admire.

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Kelsey Chickering of Forrester: how to gain real benefit from the booming creator economy

With more than 300 million creators worldwide, the creator economy grew exponentially over the last several years and shows no signs of slowing down. Creators — individuals who make and monetize social media content — matter to brands because they wield the power to make ideas, trends, songs, or products go mainstream overnight.

They spark cultural movements and shape purchase decisions. A report by gen.video found that 53% of respondents ages 18–29 say that they’ve purchased a product after watching an influencer’s YouTube video.

Everyone Wants A Piece Of The Creator Market

Forrester’s Q1 2023 B2C Marketing CMO Pulse Survey finds that nearly three-quarters of B2C decision-makers will partner with creators and influencers in 2023. This growth in creator marketing upends traditional advertising paradigms. Brands — such as Gymshark and PrettyLittleThing — have started hiring creators as creative directors. Advertising agencies are scrambling to stand up influencer centers of excellence and acquire influencer agencies as a result.

On the platform side, social media companies court creators — through revenue-sharing programs and subscriptions — to get “preferred platform” status from top creators.

#Ads Are Just The Tip Of The Iceberg

Creator marketing in 2023 is more than just an #ad promoted post on Instagram. Marketers need a multidimensional creator strategy to compete for attention in this creator-led world. Marketers can take advantage of this creator-led world by:

*Embedding the brand in new communities. Creators operate within countless communities — from beauty to engineering. Develop partnerships within many communities relevant to your audience segments.

*Fuelling the brand’s content engine. Increasingly, brands hire creators to make branded content to be used across channels, not just promoted to the creator’s followers. Select creators based on their production chops and aesthetic to scale content development.

*Driving direct, attributable sales. Major retailers work with thousands of creators on large-scale affiliate programs that deliver on lower-funnel sales metrics. Work with an influencer marketing solution to manage and scale these programs.

Collaboration And Trust Are Key Ingredients

Great creator partnerships require collaborative building — of products, ideas, and creative. And marketers must cede some control to creators and avoid over-direction. For many marketers, the reflex to control every detail comes from a fearful place. Temper apprehensions and facilitate trust with creators by choosing partners wisely and investing in longer term relationships.

The State of the Creator Economy by Forrester is here.

Kelsey Chickering is principal analyst at Forrester Research.

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Montana TikTok ban—how creators and marketers are responding

Threatening brands’ social strategies

For Kinetic Marketing & Creative, an agency based in Billings, Montana, the TikTok ban is already presenting a significant disruption to many of the agency’s clients. As the agency works to map out its clients’ social strategies in advance for 2024, the statewide ban on TikTok has introduced uncertainty into that process for several of Kinetic’s Montana-based clients who rely on the platform to connect with younger consumers, said Dana Pulis, the agency’s owner and principal. 

“We’re already seeing impacts from the ban, because we set our clients’ strategies and plans [for 2023] back in October or November,” she said. “We’ve been thinking about how this will affect our clients’ businesses and their business models—which in some cases are very heavily reliant on TikTok, because it’s the main marketing channel for them. They have influencers on TikTok that they’re working with, and sometimes TikTok is the only place that those influencers do work with brands.”

Ultimately, the ban has left Kinetic and its clients in a state of limbo as they await the outcome of the legal challenges both TikTok and the group of five creators have mounted against the Montana government, Pulis said. But if the ban does in fact survive the legal battle and take effect in January, several of the agency’s clients won’t simply be able to replace TikTok’s role in their social strategies with alternate platforms such as Instagram, she said. 

For a handful of Kinetic’s clients—particularly those seeking to reach members of Gen Z, younger millennials, or Gen Alpha—TikTok is a crucial platform in these brands’ efforts to reach that consumer demographic, Pulis added. Over 1.4 billion people used TikTok in each month of 2022, and over 77% of those people were younger than 35 according to Business of Apps. “Thanks to its highly effective algorithm, TikTok is such a strong discovery tool—far beyond what its competitors offer,” said Permele Doyle, president and founder of influencer marketing agency Billion Dollar Boy, in an email. “And that helps consumers find inspirational, aspirational and educational content more easily, while also allowing brands and creators to reach larger audiences and grow their following faster.”

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Budweiser tries to dig Bud Light out of trans hole

Posted by: Staff

in Advertisers, Agencies, Creative, Finance, Media, News, PR, Social Media

11 mins ago

Bud Light has found itself in a right tangle with its unwise trans flirtation (sales and profits going through the floor) and owner AB InBev seems to be trying too remedy things with this tie-up between big brother Budweiser and “manly” Harley-Davidson.

So it’s hairy bikers on the can now.

Judging by the comments and growing number of spoofs on YouTube and elsewhere it ain’t exactly working. If you’re in a hole, stop digging…

bud light Budweiser featured 2023-05-30

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Introducing new website insights for UET Tag

Understanding user engagement on your website is important to your business and for measuring the impact of your ad campaigns. To help you better meet your business needs and drive more traffic and conversions, we’re excited to introduce UET Insights, a valuable new feature that will be automatically enabled on a rolling basis starting on July 3rd, 2023, for your existing UET tags. This feature includes new data collection to provide you with valuable insights and improve ad targeting.

Understanding UET tag

Microsoft Advertising UET tag is a powerful tool that enables advertisers to unlock a range of features such as conversion tracking, remarketing, and automated bidding strategies. By enabling UET Insights, advertisers can now amplify the value of UET by using additional data signals to gain visibility into their web traffic insights and better their campaign performance.

Key features of UET Insights

More powerful website data in a built-in dashboard

UET Insights provide a robust website dashboard that helps you understand user engagement and empowers you to improve your webpages and optimize your targeting to get more conversions.

Key data available on the platform’s built-in dashboard includes:

• Total visits to your website and number of visits per page
• Session breakdown by country and device
• Quick backs (customers who stay on your website for just a few seconds)
• Time spent on your website

View of the UET Insights dashboard.

 

Improved advertising performance

Not only do UET Insights offer a deeper understanding of your website’s performance, they also enable Microsoft Advertising to optimize your ad performance more effectively via improved targeting, fraud detection, and reduced conversion loss. The additional signals include page latencies (speed and load times), click and scroll interactions, purchase cart details, cart abandonment details, browser-based signals, and JavaScript browser errors.

Seamless upgrade

No coding is required from your end to enable UET Insights. Existing tags will automatically be updated on the back end, and all new tags created in the future will automatically be enabled with UET Insights.

Additional things to know

• UET Insights are optimized to ensure they don’t impact your site’s performance negatively.
• The data collected is analyzed and made available in near real-time on the UET dashboard.
• There is no sampling involved. You can trust that the data you see is comprehensive and representative.
• Advertisers retain control over UET Insights, with the ability to disable them if desired.
• For more detailed information about this feature, visit our Help page.

Disabling UET Insights

If, for any reason, you wish to disable UET Insights, you have two options:

By June 28, 2023

You can opt out of the automatic upgrade by completing the opt-out form. You’ll need to provide either the UET tag IDs for each specific tag you would like to opt out, or the Manager Account ID if you want to opt out all UET tags within that Manager Account.

Post-enablement

If you decide to opt out any time after you’re enabled for UET Insights, you’ll be able to do this easily in the UET Dashboard within the Microsoft Advertising platform.

Access your UET dashboard by navigating to Tools > UET tag and then select the relevant tag on the left navigation bar. In the header summary bar, hover over the “UET Insights” setting and select the pencil icon. From the pop-up (see image), toggle off UET Insights Enabled and select “Save.” If you want to disable UET Insights for multiple tags, access the “All Tags” page, select the relevant tags, and choose “Disable Insights.”

Enable and disable UET Insights easily from the Microsoft Advertising platform.

Help us improve Microsoft Advertising

Your comments and feedback are integral to shape and improve our product. You can use the Microsoft Advertising Feedback portal, in-product feedback, Twitter, or Instagram, and as always, contact Support.

Stay informed

Sign up for the Microsoft Advertising Insider newsletter to keep up with the latest insights, product news, tips and tricks, thought leadership, customer success stories, and resources.

 

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WPP signs groundbreaking Omniverse deal with AI giant Nvidia

Nvidia has come from seemingly nowhere to become almost a $1 trillion company ($963m and counting) so it’s quite a coup for WPP to sign a deal with tech’s latest big thing to build a generative AI-enabled content engine for digital ads.

The two say they are “developing a content engine that harnesses Nvidia Omniverse and AI to enable creative teams to produce high-quality commercial content faster, more efficiently and at scale while staying fully aligned with a client’s brand.” Well that’s a relief.

Nvidia founder and CEO Jensen Huang says: “The world’s industries, including the $700 billion digital advertising industry, are racing to realize the benefits of AI. With Omniverse Cloud and generative AI tools, WPP is giving brands the ability to build and deploy product experiences and compelling content at a level of realism and scale never possible before.”

WPP CEO Mark Read says: “Generative AI is changing the world of marketing at incredible speed. Our partnership with Nvidia gives WPP a unique competitive advantage through an AI solution that is available to clients nowhere else in the market today.

“This new technology will transform the way that brands create content for commercial use, and cements WPP’s position as the industry leader in the creative application of AI for the world’s top brands.”

In essence Omniverse Cloud should allow WPP to use the same images, video and AI-generated copy for millions of uses, tailored to individual consumers. It’s a kind of ad production on speed – with, perhaps, a mind of its own.

The deal may also put some oomph into WPP’s flagging share price which has resolutely refused to move upwards at the same rate as rivals, notably Publicis Groupe. Leading to speculation that the British-based company may move its listing to New York.

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Robinsons, Covid and a sex toy like an iceberg: snapshots from an uncertain adland

Slim pickings for UK agencies at D&AD, once the premier UK festival which rose to prominence in the ‘Swinging London’ 1960s.

Always an uneasy alliance twixt designers and ad creatives (I remember one evening back in the day when the designers took so long about it the ads didn’t appear until after midnight) it goes in phases. Historically first the designers, then advertising from the 70s to the end of the century, now it seems to be designers again. Adam&eveDDB’s brilliant CALM campaign was about the only advertising stand-out this year.

Difficult for creative agencies in these digital days when, quite often, the media agency only allows them 20 seconds (if they get 30, what joy, the last 15 are probably products and prices.)

Here are a few that have caught the eye, covering the field (a pretty wide one actually.)

Robinsons is back with a new platform (aren’t we all darling) with a new campaign from Saatchi, built around a tune that may be familiar from one of A&E’s equine efforts for Lloyds.

Clever, A for effort, or completely missing the point about fruit drinks? A bit of both I suspect.

BBH Singapore has no such time constraints with this effort for a regional insurer. Covid still seems to be having a bigger impact out East. It can be quite hard to get a visa to travel elsewhere, for example.

BBH Singapore often goes the extra mile, quite a lot of them in this instance.

Then the inimitable Zulu Alpha Kilo from Toronto with a sex toy that looks like a (real) phallic iceberg.

Only for the brave perhaps.

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Founding Partners Melanie Bridge and Sharlene George Usher The Sweetshop into New Era Adland®

Over two decades ago, award-winning director Melanie Bridge, producer Sharlene George, and chairperson Paul Prince started the New Zealand-based production company, The Sweetshop. Having steadily grown in prominence and impact, it became the award-winning powerhouse we’re familiar with today. After guiding its evolution from the inside, founding partners Bridge and George are stepping into Co-CEOs’ roles, galvanizing the company for another twenty years of groundbreaking work.

The two vision-forward women replace Wilf Sweetland, who after five years, is stepping back from his Global CEO position. Sweetland had been with The Sweetshop for a total of 12 years, having started out by overseeing the company’s Australian business. As he departs to achieve a more apt work-life balance, Wilf shares, “It has been such a pleasure to be involved with everyone at The Sweetshop and to play a part in this great company, producing some of the best work in the world. I thank Paul dearly for his support and guidance over the years, and I’m thrilled that my successors Sharlene and Melanie are leading as Co-CEOs into the next chapter.”

Splitting the responsibilities is a strategic set-up for the duo, and their uniquely complementary skillsets enable them to drive the company forward more effectively. “Sharing the CEO job plays to each of our strengths perfectly,” said Bridge. “Sharlene’s skills are more in the production areas, while mine focus more on the creative. My experience as a director is a wonderful asset, as every executive decision comes through this filter.” ”

George has recently been harnessing her production skills on longer-form content and will now bring that in-house. The Sweetshop will continue to produce crafted commercials and expand into documentary and scripted feature films, digital and television series, and ambitious, outside-of-the-box branded content. George and Bridge aim to support the directors on their roster who have their eyes set on the long-form as well as those who already have a knack for critically-acclaimed features.

Respectively, the production company has won multiple Cannes Lions and D&AD Pencils itself over the years, as well as the exceptional achievement of being honored Production Company of the Year ten times at the Commercial Communications Council’s CAANZ Axis awards.

Since they were connected through a mutual acquaintance two decades ago, Bridge and George’s relationship – and The Sweetshop, by extension – has been grounded in warmth, mutual respect, trailblazing creativity, and feminine fierceness. “As we step up to Co-CEOs, I feel incredibly lucky to have my friend and business partner Sharlene by my side and be the yin to my yang,” confides Bridge. ”I feel that this is the perfect time to step back from directing and return to the forefront of the company.

This cathartic full-circle turn of events catalyzes the lauded production house – which now has offices in L.A., London, Shanghai, Bangkok, Sydney, Melbourne and the Auckland flagship – for enhanced impact on the industry at large.

“Our global reach allows us access to the best the industry has to offer—but we are still the same Kiwi Company that started in 2001, one that upholds values of kindness, inclusion, sustainability and ingenuity,” said George. “Our heritage as a brand is important to us, and we’re also really mindful about keeping the company modern and fresh.”

Their most ambitious (and well-underway) endeavor is seeking the prestigious B-Corp certification. This renowned and hard-to-achieve designation indicates that a business meets the highest performance, ecological accountability, diversity, equity and inclusion standards—yet another way The Sweetshop is stepping boldly into a new era.

“I am very excited to circle back to where we started and reconnect with the company’s roots. Sharlene and Melanie are two of the most experienced, passionate, hardworking and smart people I know,” comments Paul Prince, who will continue to serve as board chairman. “Of course, I have so much gratitude for Wilf and everything he has done for The Sweetshop. A global production company has many moving parts, and his strength in production and relationships has been an enormous asset. We wish him the best of luck with his future endeavors.”

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TikTok tests its own AI chatbot Tako

TikTok is hoping Tako will be used as a means to facilitate content to the viewer. It can provide recommendations based on specific requests, such as “Show me cat videos,” as well as a user’s viewing history, according to Watchful. Having access to the user’s history could give Tako a leg up over other AI bots given the strength of TikTok’s algorithm. 

That said, Tako is not built on any in-house AI technology but rather an undisclosed third-party provider. This means that, while TikTok has customized the underlying model, it does not own it like OpenAI owns ChatGPT. It is unclear how this will impact TikTok’s ability to improve Tako by continuing to train it on new data.

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Dentsu Creative hires Caroline Pay as chief creative for UK

Caroline Pay, formerly joint CCO with Vicki Maguire at Grey London, has Joined Dentsu Creative’s leadership team as CCO.

Most recently, Pay was CCO at Headspace in California, which she left in July 2022 after four years in the role. Before that she was at Grey with Maguire, and has also worked at BBH and Mother.

Pay replaces Simon Lloyd, who left for VMLY&R in April. She will join Dentsu in June as part of a brand new management team working alongside CEO Jessica Tamsedge and CSO Theo Izzard-Brown, who both joined from McCann UK this month.

At Headspace, Pay’s work ranged from a Netflix series on meditation to podcasts and partnerships with brands including Nike, Disney and Microsoft, as well as influencers including John Legend and Raheem Sterling.

Pay will lead a creative department of around 100 across Dentsu Creative’s offices in London, Manchester, Edinburgh and Newcastle.

She said: “This is my broadest, most challenging role yet. An unmissable creative opportunity to flex my experience across so many disciplines, at scale. To get to love and develop the Dentsu Creative team, with two people that I respect so much, is a dream.”

Tamsedge said: “Dentsu creative is set to be an unrivalled creative force, building brands in places people choose to spend their time. Few creative leaders have the breadth of experience and generosity of spirit to bring together such a diverse creative community. In Headspace, Caroline built the world’s most influential wellness brand and knows what it takes to get to great work at scale.”

Dentsu Creative has been through a lot of change recently, assembling new global leadership team after merging the international and Japanese divisions and the related departures of CEO Wendy Clark and CCO Fred Levron, plus a change of heart from Alex Hesz who had signed up to be CSO but decided to remain at DDB.

With three new faces in place, the UK leadership team has plenty to do in terms of establishing the agency as a player in the UK market.

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TikTok content comes to airports in ReachTV deal

“ReachTV is thrilled to become the home of TikTok’s first foray onto airport screens. TikTok’s highly engaging short-form content is the perfect fit for our audiences of travelers” said Lynnwood Bibbens, ReachTV CEO and founder, in a statement. “We’re excited to help our viewers discover new travel gems and destinations during their journey.”

Earlier this year, ReachTV announced new programming with partners Invincible Entertainment, Ohh Dipp!!! Productions, PickleJar and the NBA. 

Recent news: Top 5 brand TikToks to know about right now

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Why can’t ad agencies make money?

Let’s get serious about alternate ways to get paid, try to figure out what fair looks like and identify all the ways in which the financial health of both clients and agencies are inextricably linked.

Agencies should invest in their own data and analytics to help clients correlate soft metrics like brand likability to hard outcomes like sales and market share. Clients should experiment with variations on their media mix in the real world, a range of brand-versus-promotion scenarios to see which formula optimizes growth market-by-market. That kind of real-time intelligence will not come from pre-testing—the nemesis to creativity—because truly actionable insights are a combination of common sense and in-market observations.

Trust your gut and open your eyes.

For agencies, the post–holding company business model has always been a leaky bucket. Rather than act—and charge—like the creative consultants they are, agencies fall into the client-service trap of charging for billable hours. Why did no one ever realize that charging for hours is a backwards incentive that hurts both agencies and clients? An agency that puts more senior (expensive) talent on a problem and cracks it quickly is disincentivized from working faster and smarter. From a financial point of view, far better to fire your senior talent to lower overhead than have junior talent take longer to solve a problem by adding more research, process, meetings and PowerPoint to every stage of campaign development to extend the scope and squeeze more hourly dollars from unsuspecting clients.

Pretty soon the agency looks like a funhouse mirror image of its clients, rather than what it was meant to be—an island of misfit toys where magic happens.

Agencies can do two things to right the ship before we all drown.

The first is to stop keeping timesheets. Instead, charge your client a set percentage of their overall budget, say 10%, and call it fees for creative consulting services. How you work is up to you, the modern equivalent of charging media commission, which worked fantastically well for decades as 15% of media spend. It’s no coincidence that during those years agency-client relationships lasted decades, not months, everyone made more money on both sides of the fence and campaigns were consistently stronger creatively.

The second critical move is to own your intellectual property. If an agency develops a campaign, design system or tagline, they own it, period, and a client pays for its usage. If a client moves their business to another agency, they pay a royalty on the use of any IP carried forward. This is the Hollywood model, yet for some reason advertising agencies lack the confidence to go there. You think James Cameron doesn’t get paid every time someone makes another “Terminator” movie, with or without him? You bet he does.

Unless we’re all—clients and agencies alike—healthy financially, the marketing industry as a whole will continue to struggle. We all know marketing is an investment and not an expense, just as we know a killer brand idea can change the fortune of an entire company. That kind of creativity should be worth a lot more than it costs today.

Let’s see if adding value to both sides of the equation makes the math work for a change.

What have we got to lose? From where I sit, that sounds like a lot more fun than begging for change.

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Purpose still wins at D&AD as UK takes eight yellow pencils

Six of the eight D&AD yellow pencils won by UK agencies were for purpose-led work this year as the first of two awards nights recognised winners in the advertising, craft and collaborative categories.

Adam&eveDDB’s “Last photo” for CALM won three yellow pencils, Havas’ “Me, my autism and I” for Ambitious About Autism” took home one, and AMV BBDO’s “Periodsomnia” for Essity won another.

Somesuch UK also got a purpose tick for its role in Apple’s “The Greatest” ad, which looks set to clean up at the awards this year. The purpose-free but very good Coca-Cola spot, “Masterpiece,” won a UK yellow pencil for computer generated visual effects, thanks to the work of Electric Theatre Collective.

The US won 20 yellow pencils for a broader range of campaigns including Squarespace’s Super Bowl spot starring multiple Keanu Reeves, “The singularity,” which looks extra clever now that AI is dominating the agenda.

Apple’s “The Greatest, AB InBev’s McEnroe vs McEnroe, Progressive Insurance’s “Dr. Rick” and Skittle’s “Apologise the rainbow” were among the winners that offered a good mix of humour, purpose and entertainment.

More pencils are due at tonight’s ceremony: craft, side hustle, design, culture and impact will be awarded, alongside the Companies of the Year and President’s Award.

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AdPlugg Releases New WordPress Ad Block

WordPress users can now easily place ads using the AdPlugg ad block

San Francisco, CA – Today, AdPlugg announced the release of a new WordPress ad block. Integrated into WordPress’ built-in block editor, the AdPlugg ad block makes it easy for publishers to insert ads into their WordPress pages and articles. AdPlugg’s ad block is part of AdPlugg’s WordPress plugin – a long time favorite with WordPress publishers. The ad block offers an additional way for publishers to place AdPlugg ads onto their website or blog. The block is built to work with WordPress’ Gutenberg block editor, which has become the standard for WordPress content creation and page design.

The AdPlugg WordPress Ad Plugin was originally released in December of 2013. Since that time, it has been downloaded more than 100,000 times. The plugin ties in with the AdPlugg hosted ad service which makes it easy for publishers to easily place ads on their WordPress website or blog. Prior to this release, ads could be placed using the legacy WordPress widget system or using Ad Tags – bits of HTML code that can be inserted into WordPress.

In 2019, WordPress released a new block editor called “Gutenberg”. After meeting some initial resistance from the WordPress community, the Gutenberg editor – and its system of editing pages via “blocks” – has become the de facto standard for WordPress site editing and content creation.

With the release of AdPlugg’s new WordPress ad block, placing ads into pages via the Gutenberg editor is now even easier than before. Previously, Gutenberg users would place a generic HTML block onto their page and then insert a code, known as an Ad Tag, into it. Now, publishers can simply place the AdPlugg block onto their page and AdPlugg takes it from there.

The ads that appear in the block are controlled by the publisher from their dashboard at adplugg.com. From adplugg.com, users can create ads, turn ads on and off, schedule ads, rotate ads, view ad statistics (such as impressions and clicks), and more.

“Like many long time WordPress users, I initially approached the Gutenberg block editor with cautious optimism. But now, I’ve grown to really love it. I think that publishers are going to be thrilled with how easy the AdPlugg ad block makes it to place ads on their WordPress pages and posts.” said AdPlugg CEO, Collin Krawll.

AdPlugg’s WordPress ad block is immediately available to all AdPlugg users. This includes both users on one of AdPlugg’s paid plans as well as users on AdPlugg’s Free Plan.

About AdPlugg

AdPlugg is a cloud based advertising system that makes it easy for advertisers and publishers to manage, serve and track their ads. Users can create an account instantly and be up and running within minutes.

To learn more about AdPlugg, visit www.adplugg.com.

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Taco Bell CMO Taylor Montgomery on ‘Taco Tuesday’ trademark fight

Challenges and opportunities

One fan asked about the biggest challenges and strategic opportunities for Taco Bell. 

“To me, both answers are the same,” Montgomery wrote. “Breakfast is a huge area of opportunity. And while we’re your best pal for late night, we want to see you early too!”

The fast food chain has been pushing its breakfast options with a new ad again featuring Pete Davidson, a.k.a Peter Davidson as a sort of morning show host.

Taco Bell is also trying to test ways to make menu options vegan.

On Mongtomery’s path to becoming CMO

One fan seemed surprised at Montgomery’s age (36) and asked about his journey to the C-suite, and his advice on getting into a leadership role.

Montgomery pointed to surrounding himself with the right people. 

“Honestly, you have to really have a mindset of service + being selfless,” he wrote. “Ultimately the job of CMO is about unleashing the power of creativity in other people. My advice would be surround yourself with people who are where you want to be and learn as much as you can from them. I wouldn’t be here today if other leaders didn’t guide me and take a chance on me.”

…and his Taco Bell order

“I’m a taco bell purist—so a regular crunchy taco, grilled bean burrito with extra onions (we’re working to bring back the option to order burritos grilled in the app, but you can ask team members in restaurant in the meantime), chicken quesadilla (add green sauce, add double chicken), and baja blast zero.”

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MiQ Appoints Leading Media and Technology Executives Zillah Byng-Thorne and Rob Norman to Global Statutory Board

The Addition of Two Non-executive Directors Further Accelerates Strategic Decision-Making & Global Programmatic Business Growth 

LONDON & NEW YORK – MiQ, a leading global programmatic media partner, today proudly announced the appointment of esteemed media and technology leaders Zillah Byng-Thorne and Rob Norman as non-executive directors to its Global Statutory Board.

“It’s an honor to welcome Zillah and Rob to our statutory board to advise on MiQ’s ongoing global initiatives,” said Gurman Hundal, Co-founder and Global Chairman, MiQ. “Both possess unique skill sets and leadership experiences that will contribute greatly to MiQ’s future growth ambitions in the programmatic arena. We look forward to learning from them, their contributions, and are eager to see what new heights the company reaches with their guidance.”

With more than 20 years of experience in c-suite leadership roles, Byng-Thorne brings proven expertise in driving operational excellence for companies in online gaming, digital media and e-commerce to MiQ. Most recently, Byng-Thorne served as CEO of Future plc., a global platform for specialist media – a position she held for nearly a decade – which transformed under her leadership. Prior to Future, she held numerous CEO, CFO and non-executive director roles at companies including Trader Media Group, Fitness First Limited, Thresher Group and more. In addition to MiQ, Byng-Thorne also serves as Non-Executive Chair of TrustPilot Group plc. and Non-Executive Director of NCHL plc.

“I feel privileged to take on this role at an exciting time for the industry and for MiQ, and see great value in the experience the board and I will lend to each,” said Byng-Thorne. “I look forward to serving the board as MiQ experiences ongoing growth as a prowess in the programmatic space.”

A trusted advisor to MiQ’s board since 2019, Rob Norman is a highly respected and well-established luminary in the media technology sector. Most recently, Norman held executive leadership positions, including CEO North America, Global Chief Digital Officer (CDO) and advisory roles, at GroupM, the world’s leading media investment company. Norman currently serves on numerous boards in the media technology space, including Simpli.fi, Piano, Nova and Barrington Media, and held prior board director roles with BBC Global News Limited and Comscore.
“I’m honored to officially join the Global Statutory Board,” said Norman. “I’m hopeful that my experience advising the company, along with new collaboration with other board members, will further MiQ’s aim of delivering best-in-class solutions to the programmatic media space.”

MiQ’s Global Statutory Board is comprised of world-class sector advisors focused on critical thinking through the lens of an outside-in perspective. Its role is to fulfill obligations around corporate governance and compliance, annual budgets, and reforecasts proposed by the Global Chairman in conjunction with the Global Executive Board. The board is also responsible for approving proposed capital structure changes, long term strategy, and M&A activity, including future investments.

Byng-Thorne and Norman join existing board members Gurman Hundal, MiQ Co-founder and Global Chairman, Lee Puri, MiQ Co-founder, Xavier Robert, Partner and Chief Investment Officer at Bridgepoint, and Charles Welham, Director at Bridgepoint, bringing the total number of Statutory Board members to six. Prior Statutory Board members Stewart Eastbrook and Ashwini Karandikar will continue as long term advisors to the company.

The new non-executive board additions come in the wake of several strategic initiatives, including a multi-year commercial agreement with Samba TV and the acquisition of AirGrid, further solidifying MiQ’s stronghold as a dominant force in the programmatic media space.

About MiQ
We’re MiQ, a programmatic media partner for marketers and agencies. We connect data from multiple sources to do interesting, exciting, business-problem-solving things for our clients. We’re experts in data science, analytics and programmatic trading, and our team of people are always ready to react and solve challenges quickly, to make sure you’re always spending your media investments on the right things in the right places.

Headquartered in London, MiQ operates globally from 18 offices located across North America, Europe, and APAC. Our company has been recognized numerous times for our stellar contributions both internally and externally including for Ad Age’s 2023 Best Places to Work Award, 2022 Inc. Programmatic Power Players list, and AdExchanger’s Programmatic Power Players list in 2022, 2021, and 2020.

You can find out more here: wearemiq.com.

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Halle Petro Named Executive Creative Director Of Sonic Union Adland®

Sonic Union is thrilled to announce that Halle Petro has been named Executive Creative Director. In her new role, Petro will be instrumental in deepening the studio’s sonic storytelling experiences for entertainment and advertising – including collaborations with music and sound narratives. She’ll also continue to expand Sonic Union’s podcast productions working closely with a team that includes Creative Producer Kimu Elolia.  

“You know when you encounter a born leader. Over the past five years our vision of growing our creative offering has been realized thanks to Halle’s stewardship,” notes Sonic Union Co-Founder/Managing Director Adam Barone. “This new role is the recognition of her powerhouse knowledge and business sensibility, creative ideation and execution, along with the trust she inspires with each and every collaboration.” 

“A colleague recently said ‘sound creates visualization,’ which is the ultimate truth in this age of new media and is reflected in Sonic Union’s evolution in the creative process with our clients,” notes Petro. “Mine is a non-traditional role for a sound company, and I am energized by the possibilities it encompasses. It reflects the innovative approach the partners have to collaboration and new creative opportunities. There is a lot cooking for us with new partnerships that we believe will supercharge sound as a part of brand campaigns. I am so excited to share what’s to come.” 

Prior to being named ECD, she was Sonic Union’s Executive Creative Producer working on music and sound collaborations.  As Sonic Union started having demand for more creative project applications and liaising, Petro moved the company into new areas of exploration to further diversify the studio’s offerings. Among them, working with clients to develop high-impact content with creatively driven sound design, and creating a team for original composition and a catalog of music for licensing.  That breadth of work includes commercials, documentary features, episodic television, animated series, award winning podcasts and sound installations.   

Beloved and respected by her Sonic Union colleagues and clients alike, Halle has contributed to such noted projects as the 2023 Webby honoree SAVEUR podcast series “Place Settings,” Expedia’s “Out Travel The System,” and the Emmy-nominated “Resistance Radio” for Amazon Studios & The Man in the High Castle as well as brand collaborations such as projects for Coach, Corona, Nikon, Nintendo, Samsung, Ford, and AT&T. Over the years, Halle has also contributed her producing talents to the feature doc “Nothing Fancy” (SXSW, James Beard Award Nominee), along with the Webby-nominated podcast “We Got You,” a work she originally created, wrote and executive produced. Halle’s background is in music – she was a touring musician and singer before channeling her love of audio production into producing original music and sound design.  

Halle has served as an AICP Curatorial Committee, Show Judge and board member since 2018. When she’s not focused on the craft and creativity of others, she spends time honing her talent as a singer/songwriter.  

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Geico’s top marketer on the brand’s approach amid insurance upheaval

“We want to leverage digital and social to help what we call educate the audience and help them, you know, realize the value that insurance can bring to their lives, but do it in a entertaining way,” said Burrell, adding that Geico expects to have a bigger presence on TikTok, for example, in the future.

On the podcast, he also discusses Geico’s long-running relationship with creative partner the Martin Agency and why the gecko has been able to maintain its appeal with customers, both young and old, since the character’s 1999 debut.

Look back: The most popular insurance ad characters

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Optimus Prime stages audacious 3D take-over of BFI IMAX

Ocean Outdoor creates biggest ever DeepScreen canvas.

Paramount Pictures uses the scale and presence of Europe’s most iconic out of home canvas to mark the UK release of its action blockbuster Transformers: Rise of the Beasts.

This is the first time the creative licence of Ocean Outdoor’s DeepScreen® 3D technique has been used at such scale and on the BFI IMAX canvas. The famous banner is situated in central London.

To recreate the drama of its popular fantasy franchise, Paramount Pictures uses anamorphic techniques together with LED lighting to create the illusion that three of the Transformers, Optimus Primal, Optimus Prime and Bumblebee, are breaking through the walls of the IMAX, creating a giant 30 metre x 14 metre sized hole to reveal the cinema inside.

Unveiled on Monday, May 22 for 14 days, the campaign was planned by Kinetic and Wavemaker.

To achieve the ground-breaking effect, Ocean Studio 3D modelled the entire interior of the IMAX all the way down to the seat numbers, warping the artwork on the 1,734m² wrap to create the vast DeepScreen® experience.

John Fletcher, managing director at Paramount Pictures UK, said: “At Paramount we are always looking at new ways to create standout and engaging advertising. We’re confident this already hugely impactful site will be even more engaging using these cutting-edge anamorphic techniques to bring the Transformers world to life.”

Emily Coe, business director at Kinetic, said: “This is blockbuster OOH at its best! Giant Transformers literally stepping out of the walls, housing the UK’s biggest cinema screen, and towering over the heart of London. Made possible through the power of OOH creativity, technology, ingenuity, and Paramount’s willingness to push the boundaries. We are so excited to see this come to life and witness the reaction on the street.”

David Tait, director of Ocean Studio and Group design, said: “After the success of DeepScreen® on our digital screens, we knew we could apply the same anamorphic principles to create 3D illusions on our iconic banner portfolio; and there’s no bigger or better banner location on which to launch than the BFI IMAX, Waterloo.

“Ocean Studio worked closely with Paramount from initial concept, through development stages to final artwork delivery: a massive 360-megapixel render. To achieve the level of detail required, the interior of the cinema was modelled in 3D based on actual plans, right down to seat numbers, although some artistic licence was used to create the demolished concrete wall.”

Transformers: Rise of the Beasts is released in cinemas on June 8.

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Walmart’s retail media network names creative agency partners for its self-service tool

Pain points or not, Walmart Connect is on a roll. It’s on track to become a top 20 global seller of advertising in 2023, according to Brian Wieser, principal of the Madison and Wall consultancy, after posting $2.7 billion in ad revenue in the fiscal year ended Jan. 31 and last week posting an additional increase of 30% globally and 40% in the U.S. last quarter. Wieser projected Walmart Connect could be a $3.5 billion enterprise this year.

While some retail media networks offer creative services as part of a managed service (as opposed to self-service) platform or for an additional cost, marketers will select and pay Walmart’s agency partners directly, Finster said.

Walmart Connect’s creative agencies build out a partner network that include API and other technology partners. Sibling Sam’s Club also rolled out a network of tech and agency partners, aimed primarily at buying and optimizing within its Member Access Platform.

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Live video: the future of TV advertising sales

Ad Age The State of TV Advertising: Agenda

Welcome remarks
Jeanine Poggi, editor, Ad Age

In conversation with Paramount
John Halley, president of Paramount Advertising, Paramount
Interviewer: Jeanine Poggi, editor, Ad Age

What’s next in the measurement upheaval
Josh Chasin, chief measurability officer, VideoAmp
David Levy, CEO, OpenAP
Bharad Ramesh, executive director of research and investment analytics, GroupM
Moderator: Jack Neff, editor-at-large, Ad Age

The evolving role of data and programmatic in this year’s upfronts
Sponsor session
Moe Chughtai, global head of advanced TV, MiQ
Brad Stockton, senior VP of U.S. national video innovation, Dentsu International
Interviewer: John Dioso, editor of Studio 30, Ad Age

In conversation with Warner Bros. Discovery
Jon Steinlauf, chief U.S. advertising sales officer, Warner Bros. Discovery
Interviewer: Parker Herren, TV reporter, Ad Age

In conversation with TelevisaUnivision
Donna Speciale, president of U.S. advertising sales and marketing, TelevisaUnivision
Interviewer: Parker Herren, TV reporter, Ad Age

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Liquid Death finds a new use for discarded plastic—rogue plastic surgery operations

Please visit this page to view the blog.

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Google AI-generated ad tools will put brands into search chat

Google is experimenting with advertising in its new AI-powered search engine, causing publishers and brands to reassess how they set up their websites and manage ad campaigns.

On Tuesday, Google revealed a slate of AI tools for advertising, including the ability to use text prompts to generate ad copy, just like a person commands ChatGPT to write text. And Google is testing new ad formats in the AI-generated search experience it launched earlier this year, which could change the way marketers approach search advertising, according to advertising experts.

Google made the AI announcements as part of Google Marketing Live, a yearly conference for showcasing new ad tech.

“The biggest advances in AI are in the marketing and sales side,” said Dan Taylor, Google’s VP of global ads, during a call with media before Google Marketing Live.

Google’s announcements covered the experimental ads in generative search, which fall under a division called Search Labs. Google also made updates to its AI-powered ad creation tools, which marketers use within Google Ads.

“We’re introducing a new, natural-language conversational experience within Google Ads,” Google said in its announcement, “designed to jumpstart campaign creation and simplify Search ads by combining your expertise with Google AI.”

Marketers can use chat prompts—conversational techniques—to build ads that run across Google’s ad platform. Google noted in its announcements how it has already incorporated AI into parts of the ads platform, including through Performance Max ads and Smart Bidding, which apply automation to campaigns.

The marketing event comes after Google widely released AI-based search, which is a fundamentally different experience than traditional search, during the Google I/O developer conference earlier this month. Google followed Microsoft Bing in integrating generative AI into search.

Also read: How Bing’s AI chat will challenge search advertising

Instead of navigating the web one link at a time, generative AI delivers lengthy responses to search queries on just about any topic. For instance, a person could ask Google’s chatbot for tips about travel or shopping, and generative search responses write long-form answers. On Tuesday, Google showed how generative search could include shopping ads, with images of products, and sponsored links to websites.

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Celebrated Director and Photographer Matthew James Thompson Joins ArtClass For US Commercial Representation Adland®

ArtClass is thrilled to announce internationally acclaimed director and photographer Matthew James Thompson as the newest addition to its dynamic roster. In this exciting collaboration, Thompson will bring his exceptional creative vision and storytelling prowess to ArtClass for U.S. commercial representation. 

Recognized for his distinctive style that seamlessly merges narrative and visual artistry, Thompson has consistently produced compelling and evocative work. His diverse portfolio, ranging from high-profile brand campaigns to intimate and powerful portraits, showcases his unique capacity to capture and convey the depth of the human experience. Notable clients include BMW, Nike, Google, Jeep, and Oreo. His short film for Field Notes Notebooks won awards at IAC, Addy’s, Hatch and was featured in the Lurzer’s archive. 

“We are thrilled to welcome filmmaker Matthew James Thompson to the ArtClass roster” says Managing Director, Rebecca Niles. “MJT brings a wealth of experience and a unique creative perspective to our team. His talent and passion for storytelling align perfectly with our vision of delivering exceptional content for our clients. We are excited to collaborate with Matthew and leverage his expertise to push the boundaries of commercial filmmaking. He strengthens our commitment to providing top-notch creative solutions and emphasizes our dedication to working with the best talent in the industry.” 

Thompson expressed equal enthusiasm about this new venture, stating, “ArtClass’s positive momentum and growth over the past few years have been inspiring to watch. And their commitment to creative innovation and authenticity really resonates with my own approach to storytelling. I’ve been lucky to know Vince & Geno since they started and am equally as excited for where ArtClass is now as where we’re heading. I’m thrilled to jump on board and create great work together.” 

With Thompson’s addition to the ArtClass team, the production company continues to affirm its dedication to nurturing a diverse and dynamic creative community. We eagerly anticipate the innovative projects that will emerge from this exciting partnership. 

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New commercials: Etsy image search, AT&T, Google Pixel, Ruffles, Global Travel Collection

A few highlights: AT&T serves up a Father’s Day–themed ad. (Father’s Day falls on Sunday, June 18.) Etsy wants you to know that you can search by image on its app. And Druski stars in a Google Pixel spot that also features cameo appearances by Giannis and Thanasis Antetokounmpo, Joel Embiid, Jalen Green, Kelsey Plum, Candace Parker and Malika Andrews.

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New Commercial Arts debuts for Nationwide with some rare good news for banking customers

Son paid us a surprise visit this morning and, aside from raiding the fridge, told us smugly that his bank/building society Nationwide had just given him £100.

As a building society Nationwide is a mutual and, as a bank. is raking it in as the Bank of England hikes interest rates and therefore up its margins.

Other banks just seem to increase the CEO’s bonus and close more branches (Nationwide says it’s not doing that either although it has closed some.) Nationwide is calling it ‘The fairer share.’

New Commercial Arts is Nationwide’s newly-appointed creative agency and, never one to look a gift horse in the mouth, has taken rapdly to the streets (and Sunday’s newspapers) to tell us the good news. Media agency is Wavemaker.

CMO Catherine Kehoe says: “Nationwide’s purpose is to offer banking, but fairer, more rewarding, and for the good of society. That’s why we have introduced the Nationwide Fairer Share, which will see us return even more value back to members.”

New Commercial Arts’ James Murphy says: “We are excited that our first work with Nationwide is around such a game-changing move in the banking sector.”

Should have new customers forming a queue.

MAA creative scale: 8.

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