Media shake-up continues: General Mills and Eurostar make their choices

General Mills, makers of Cheerios and Häagen-Dazs, has appointed IPG’s UM to handle its global strategy, planning, buying, analytics, performance and commerce efforts across 36 markets.

The $800m General Mills business (or almost all of it) was previously held by WPP’s Mindshare. But it’s not all bad new for WPP: Wavemaker won the £25m Eurostar account after a pitch against Havas, UM and Publicis. Eurostar was already a Wavemaker client, but the pitch was for the expanded business following the acquisition of European high speed rail service Thalys.

A General Mills statement said: “UM brings differential capabilities across the critical pillars of transformation to include omnichannel strategy and planning, specialized talent, advanced data strategy and tech stack and focus on measurable outcomes.”

There have been plenty of big media reviews this year and it seems that with every appointment, the client’s message is about their new agency’s superior transformation and innovation capabilities.

Yet no one group is emerging as the indisputable victor – they all seem to be winning as well as losing. Omnicom recently won BMW in the North and Latin America (from IPG) as well as Uber (from WPP). Publicis Groupe won Kimberley-Clark in the US (from WPP), while WPP won Nestlé’s European business in September.

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Cannes Lions makes a play for luxury brands and ditches mobile for 2024

Next year’s Cannes festival will include a new Luxury & Lifestyle awards track, which CEO Simon Cook says is here to reward “disruption” in the sector, with a focus on work that “drives business performance and brand loyalty”.

Gucci won a Bronze Lion in film craft this year for a campaign with Dentsu Tokyo (pictured).

Meanwhile, the Mobile Lions have sensibly been retired in recognition of the fact that “Over the past number of years, mobile-led creativity has been expanding into almost every Lion.”

Marian Brannelly, the global director of awards, points out that luxury the sector is negotiating “the changing values of new demographics, the evolving definition of luxury in non-Western markets and the need for a heightened focus on sustainability and conscious consumption.”

All of which is true, but it’s also tempting to conclude that Cannes Lions has seen the money in luxury and wants to bring some of it into the festival. And who can blame them, especially given the French dominance of the market? Paris-based LVMH owns (among others) Louis Vuitton, Dior, Tiffany, Givenchy, and three of the best known champagnes – Möet & Chandon, Dom Pérignon, and Veuve Clicquot.

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BBH smashes stigmas for Girl vs Cancer in subversive new campaign

Girl vs Cancer is a charity collective that wants to put two fingers up to cancer, and these three BBH films do just. They talk openly about sex for sufferers and survivors, issuing the defiant message, “Cancer won’t be the last thing that f***s me.”

Sexual dysfunction affects around 60% of women with cancer, but it’s one of those topics that gets pushed to the background: less than a third of women are given any information about how a diagnosis will affect their sex life.

Lauren Mahon, founder of Girl vs Cancer, said: “Sexual wellness should be a part of ongoing routine cancer care, but providing learning resources for healthcare professionals only helps if patients are empowered to have a conversation about this topic.”

Helen Rhodes, ECD of BBH, said: “Every single woman in cancer care deserves to get the help they need, but for myriad reasons, often aren’t able to ask for it. Our approach might make some people uncomfortable and that’s fine. As long as it gets people talking, we know that’s the most effective way to kickstart change.”

BBH’s campaign – which includes OOH and social media – will most definitely bring a taboo topic into the foreground.

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EE tackles device-crazy screenagers in new Saatchi campaign

Even broadband companies are waking up to some of the mayhem they cause it seems with a new campaign for EEC from Saatchi & Saatchi plugging its ability to disconnect pre-teen ‘screenagers’ from their ever raucous devices.

There are three ads – home, work, learn and game.

EE says it’s its biggest campaign since it launched in 2011 (taking over the late-lamented Orange.)

Can you put the genie back in the bottle? Worth a try maybe.

MAA creative scale: 6.5.

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Is bigger better for VML and WPP?

In the wake of the VML Wunderman merger one might ask: why don’t they just have WPP Creative? After all, more big clients are going for company-wide creative deals (creative being a rather wide category these days.) Two reasons maybe. One is that VML CEO Jon Cook appears to have been pretty insistent on VML’s …

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Omnicom grows 3.3% in Q3 2023 – forecasts stronger 2024

While the ad world mulls over the merger of Wunderman Thompson into VML – now the world’s “biggest creative company” according to WPP – Omnicom is quietly getting on with business, posting 3.3% growth in Q3 2023 on a 3.9% increase in overall revenue to $3.6bn.

Omnicom now expects 4% growth for the year and better times next year when a number of big new business wins, especially in media, will kick in.

Publicis currently leads the 2023 growth field with 5.3% growth in Q3.

Omnicom CEO John Wren says the company’s “strong growth validate the benefits of our client strategy in this rapidly evolving marketplace. We are very well positioned for a recovery in business conditions, with a strong balance sheet and leading creativity in all of our service disciplines.”

By region organic growth in the US was 2.7%, 5.7% in Europe with the The UK up 4.4%. LATAM was up 19% but the Middle East, Africa and Canada were down.

By discipline advertising and media was up 6.1%, precision marketing up 4.3% and healthcare up 3.8%. Experiential marketing units posted a 9.2% increase. PR, execution and support, commerce and branding were down.

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The 45th Annual Telly Awards Announces Call for Entries Under New “Beyond The Frame” Theme Adland®

The Telly Awards, honoring excellence in video and television across all screens, kicks off its 45th annual call for entries by embracing the ever-growing world of new technologies and storytelling formats that push the boundaries of our industry. This year’s theme “Beyond the Frame” is an exploration of possibility beyond surface-level visuals and traditional techniques that aims to unlock deeper layers of meaning, creativity and innovation within video production. 

“We live in a bold new era for video and television, one that has moved beyond finite frames of reference,” says newly appointed Telly Awards Managing Director Amanda Needham. “Excellent work is created on TikTok or in a commercial as often as it’s seen on the big screen – and the work we honor across television, branded content, immersive and social has consistently underscored this. The world is finally catching up.” 

Committed to pushing the boundaries of creativity forward, this year’s new categories include topics within Generative AI, Brand Collaboration, and Accessibility. These categories will dive into cutting-edge technologies and storytelling formats, while continuing to center diverse points of view with expanded offerings in Family Parenting, Use of Data Visualization, E-Commerce, Advocacy & Causes, Thought Leadership, Explainers and more. 

The Telly Awards has tapped prominent industry leaders to co-present a new “In Conversation” series around key topics including a panel on sustainability at NAB NYC, a fireside chat about the WGA strike at Stareable Fest with 2x Emmy Award winner for Last Week Tonight with John Oliver, series writer Liz Hynes, an AI in Filmmaking conversation at The National Arts Club and a ”Video for Social Impact” screening with the National Geographic Impact Story Lab. 

This year’s global screenings continue to be a hub for creative agencies, independent creators, and production companies to connect, showcasing exceptional short-form content from the year taking place in New York, Nashville, London, Atlanta and Los Angeles. The curated program will debut at NeueHouse Madison Square in New York City and includes shorts from Scout Productions (creators of Queer Eye), Rascal Post, FilmFatales, and more. 

“Hot Takes,” the acclaimed video series that features candid and unscripted responses from industry leaders like Square, Verizon and The Mill is back for its 3rd season featuring insights from professionals at Droga5, MassFX, FORTUNE Brand Studio, and more. The Telly Award Podcast is also relaunching with a fresh new format offering listeners an exclusive backstage view of the industry, with the first episode delving into accessibility with Amanda Upson, Director of FWD-Doc, an organization founded by the Oscar-nominated producers of Crip Camp.

Joining the Beyond the Frame campaign are new partners ReelAbilities, a film industry leader setting the highest standards of accessibility and inclusion for people with disabilities, and AIFF, the AI Film Festivalbacked by RunwayML, an applied AI research company shaping the next era of art, entertainment and human creativity. Their efforts are pushing the limits of what defines and should define the current creative industry, and The Tellys latest categories underscore this objective. Collectively, The Telly Awards and their collaborators will join forces on multiple initiatives, including the Telly Award Screening Series and episodes dedicated to accessibility and AI within both Hot Takes and the Telly Awards Podcast.

Among this year’s newest addition of judges are Nathalie van Sasse van Ysselt, VP of Design and Creative Services, MSG Sphere Studios, Gabo Arora, Lightshed, Becky Owen, Chief Marketing and Innovation Officer, Billion Dollar Boy, Bianca Consunji, Creative Strategist, Netflix, Aiden Darné, VP and Global Studio Lead, Shutterstock, Whitney Buxton, VP of Video, Bustle Digital Group, Barry Christie, Global Creative Lead, Meta Creative Shop, Claudia Fischer, Managing Director, Whaler, Jaqlyn Murphy, Managing Director of Brand Purpose, Edelman, Adrienne Katz, Executive Producer, Unit 9, Shawna Shutz, Founder & CEO, MassFX, Yasin Khan, Editor-in Chief, Thomas Reuters Foundation, Malinda Wink, Vice President, Minderoo Pictures, Farihah Zaman, Filmmaker, Brown Girl Doc Mafia, Jenn Rubin, Senior Editor, AirBnB and Tamra Simons, Executive Producer of “Surviving R. Kelly.”

To enter work in the 45th Annual Telly Awards, visit www.TellyAwards.com. The deadline for early entries is Friday, December 8, 2023 (Final Entry Deadline: Friday February 23rd, 2024), and the winners will be announced in May 2024.

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Tita Poe Joins the Creative Nomads at Los York Adland®

The pioneering creative hybrid LOS YORK has hired Tita Poe as Executive Producer of its STUDIO. A graduate of UC Berkeley, Poe previously held the Head of Production role at Brand New School where she oversaw an array of design-driven creative strategy, production & post projects. Prior to that Poe was Head of Production at Visual Creatures, a studio focused on character-driven 2D & 3D animation projects, VFX-intensive jobs and editorial/finishing.

She joins LOS YORK as it accelerates and expands its unique position in the industry as a hybrid creative studio staffed with “creative nomads;” a collective of designers and creatives, producers, editors, animators and film directors, creating global advertising campaigns as partners to the world’s best brands and agencies.

“We were immediately captivated by Tita’s enthusiasm and dedication to fostering world-class talent and creative,” said LOS YORK Managing Director Melina Osornio-Andrade. “Her addition to the team continues our growth at LOS YORK as we bolster our studio and continue delivering exceptional work”

“LOS YORK is in an exciting phase right now,” said Poe. “They’re building a 2.0 version of the studio, doing a big push to expand and push incredible work out there. It’s really inspiring. The culture is amazing. They’re my people. We’re creating an extraordinary future together.”

Poe brings to LOS YORK a dozen plus years of experience partnering with an array of brands including Apple, Netflix, Google, Toyota, Meta, AT&T and T-Mobile. Early in her career she worked with Radical Media as a Senior Post Producer supervising teams of editors and story producers and managing all aspects of finishing. Her production and post-production resume runs the entire gamut from commercials, branded content and music videos (which includes producing VFX for Kendrick Lamar’s Grammy-winning “Humble” video), to premium television docu-series and animated shorts.

“I’ve worked both with agencies and direct to brand, which is what LOS YORK does so well and is one of the reasons why we clicked,” said Poe. “My approach is to forge partnerships where everyone from the artists to the agencies and brands are happy and working smoothly. That’s what I’ll be doing with LOS YORK, including helping foster an overall supportive and productive creative culture. I’m ready, and I’m psyched.”

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WPP merges VMLY&R and Wunderman Thompson – VML now “biggest agency in the world”

We’ve suggested often enough here that more WPP mergers are inevitably on the way but this one’s still a surprise: VMLY&R and Wunderman Thompson are the ones getting together, under the VML umbrella.

Which means goodbye to two of the most venerable names in advertising: Thompson as in J. Walter Thompson, founded back in the 19th century and direct marketing pioneer Wunderman, founded by Lester Wunderman.

The new entity, just VML, will be the world’s biggest creative company according to WPP, with 30,000 staff in 64 markets. It will be headed by VML founder Jon Cook as global CEO and the UK’s Mel Edwards from Wunderman Thompson as global president (both below.) A remarkable rise for a boy from Kansas City where VML (for now) still has its HQ.

Cook says: “The future of building strong brands and businesses requires the interconnectivity of brand experience, commerce and customer experiences. We recognised the immediate opportunity to create what every consultancy and advertising agency aspires to build with the formation of VML. We’re especially excited to present our new offering to the industry as we don’t believe there is another company as creatively awarded with our depth in customer experience and commerce.”

Edwards says: “This is the right suite of capabilities, offered at just the right moment, at unprecedented scale. It’s incredibly exciting because with this new agency we have the chance to shape the future of modern marketing in every key market around the world. The opportunities it affords our people and the growth we can deliver for our clients at a global scale make this a real game-changer for each business and the wider industry.”

WPP CEO Mark Read, a former boss of Wunderman, says: “Scale matters in today’s world as AI and technology transform marketing and global clients look to simplify their relationships. VML will combine world-class creativity with deep expertise in data, marketing technology and platforms to deliver competitive advantage for ambitious brands. It’s another important step forward for WPP as we continue to reshape our offer for the future, simplify our business and unlock further benefits of scale.”

We’ll see. 30,000 people is a lot to bring together (although they almost certainly all won’t be there when the new company becomes operational in January next year.) Read is betting the ranch on an agency driven by what WPP calls commerce (e-commerce as was.)

Does this bring WPP any closer to its ambition to be the “creative transformation” company? Losing what was left of two Madison Avenue stalwarts JWT and Y&R (which cost the old WPP nearly $5bn back in the day) means a radically different company to the one Read inherited from Sir Martin Sorrell.

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Whiskas works for noisy Bella

We’re told by the TikTok generation that cats are the secret to increasing readership (ours is already high, obs) so here we go: MAA’s first cat video (we think.)

It’s Bella from Cambridgeshire who’s been credited by Guinness World Records with the loudest purr so far recorded.

The (tenuous) connection with MAA? Bella is fuelled by Whiskas.

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British Gas launches savings offer with different kind of elite race

British Gas was nobody’s favourite when energy bills soared and owner Centrica’s profits rose dramatically (along with the bonus for its spectacularly moustachioed CEO – not a good look.)

Bills have fallen somewhat but it’s going to be a rugged winter for lots of us so BG and agency The&Partnership are getting their retaliation in first with an offer of half-price electricity between 11am and 4pm on Sundays; rewarding customers, it says, for “more sustainable” energy use. Not a bad idea.

So, as the supporter of Team GB, it’s roped in Tom Daley, Katarina Johnson-Thompson and Paralympian Ellie Simmonds to take part in a different kind of 11-4 race.

Not a bad idea either. Nicely done.

MAA creative scale: 7.5.

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Mother wins crypto brand Kraken and launches global campaign

Crypto currency and its near cousin NFTs have lately fallen into disrepute thanks to the ongoing fraud trial of Sam Bankman-Fried, the founder of ultimate crypto exchange FTX.

But the crypto bros persevere, and there’s probably a use for digital currency somewhere along the line. Mother London must think so – the agency pitched successfully for the global Kraken account earlier in the year, and the result is a campaign that promotes the digital currency as a driver of financial freedom and inclusion, inviting us to “See what crypto can be.”

David Ripley, Kraken CEO, said: “This is our first global campaign for a reason – for 12 years we have grown organically through a great product built on world-class design and performance with a foundation of security and client service. Now is the perfect time for us to step forward and celebrate Kraken as a mission-driven brand centred around our clients, while helping the next billion people understand what crypto can offer them today and into the future.”

Mayur Gupta, Kraken CMO, said: “Kraken has always valued education and providing the right resources to clients. The benefits of crypto are available to all, and Kraken is committed to providing beginners with a safe and accessible bridge to this exciting world. We want people to know Kraken and understand that we have always stood for crypto’s mission and doing what is best for clients with a deep commitment to continually improving their experience.”

US-based Kraken has had its own share of dodgy press. It was fined $30m by the US Securities & Exchange Commission at the start of the year and in July, founder Jesse Powell had his homed searched by the FBI.

But Mother has always been smart about business and they will have done their homework. Kraken – described by the FT as one of the best known exchanges in crypto-currencies – took its time about launching an ad campaign, and recently signed a deal with the Williams Formula 1 team.

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CityFibre takes aim at broadband snails with NCA

New Commercial Arts is pretty busy at the moment, unleashing Dominic West on the nation’s arrogant bank execs for Nationwide, wondering what to do with Rick Astley at Christmas for Sainsbury’s (joke) and now entering the lists for challenger broadband supplier CityFibre.

Well someone has to make it work. My dentist told me this morning that Virgin Media (an old favourite of ours) has been saying her broadband is crap because she lives in a valley. North London’s hardly the Grand Canyon is it?

Anyway, CityFibre is telling us it’s not snail-like, like its competitors. With snails.

CityFibre CMO Dan Ramsay says: “After the success of our first multi-platform creative campaign, we’re back and promising the public ‘snail no more’ to slow and unreliable broadband. CityFibre’s full fibre network will help homes and businesses across the country solve the burden of poor connectivity impacting everyday life. Having full fibre at home is one of the best ways to keep us better connected with friends and remove one of life’s biggest bugbears.”

NCA likes to go for the jugular. Enough to put you off your escargots.

MAA creative scale: 7.

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EssenceMediacom mints “chief solutions officer”

There’s yet another new moniker in the wonderful world of media agencies: chief solutions officer (or CSO as we probably won’t be calling it.)

Tom Wigley has joined WPP’s Nexus (now “embedded” in EssenceMediacom we learn) from Publicis’ Spark Foundry where he was chief digital data and technology officer, which at least means something. Do you remember when plumbers all became water solutions experts overnight?

Wigley (left) says Wigley said EssenceMediacom is ideally placed to guide brands through the challenges of AI and privacy changes and will “provide unique solutions that help unlock new value” in campaigns. Nexus is WPP/GroupM’s performance marketing bit and now includes some other left-field GroupM initiatives that possibly failed to fly.

Doubtless Wigley will do a great job but isn’t it time media agencies looked at their own structures as well as advising clients on how to optimise theirs? Simplification clearly doesn’t figure on their ever-extending menu of options.

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Publicis progress can’t conceal an ad holding sector in severe need of a shake-up

Has Publicis Groupe discovered a secret sauce that’s eluding its holding company rivals? Its Q3 2023 numbers showing organic growth of 5.3% (after 7.3% in the previous quarter) look well ahead of any numbers its rivals are likely to post. Growth is slowing in the world economy, with tech clients in particular reining back.

CEO Arthur Sadoun credits this to his “go to market” strategy, which might mean anything. What seems to be the case is that its revenue is neatly divided three ways, as seen here in one of the slides from its recent investor presentation.

Clearly its big $8bn bet on Sapient and Epsilon is paying off, although it needs to after paying those prices. It seems to have been at incorporating them than Interpublic with its big data purchase of Acxiom. WPP has gone the other way, reducing is stake in Kantar to 40% to pay down debt.

If the sector as a whole doesn’t show growth investors are likely to ask what’s wrong. On the one hand the ad holding companies monopolise many areas of ad communications despite the efforts of smaller outfits like S4 Capital, Stagwell, Brand Tech Group and the still numerous array of independents. They’re so big they’re almost unavoidable for many clients.

At the same time they seem to give the ad industry a bad case of constipation: blocking anybody who tries to do things differently.

Accenture Song looks like the only outfit with the firepower to challenge ($14bn in revenue reportedly) although it lacks media, which is where most of the ad holding company growth is coming from.

It’s hardly healthy despite Publicis’ recent performance (it’s been tops for a few years now.) The industry clearly needs a big shake-up. But where’s it coming from?

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Burger King does scary with style for Halloween

Halloween is an acquired taste but it’s an onother opportunity for advertisers and Burger King with Dentsu Creative seems to have hit a winner with this spoof horror for its gruesome-sounding Ghost Pepper Whopper.

Dreamed up by Dentsu Creative’s social media unit it seems.

Nicely filmed and acted (no idea who she is but she’s good.)

MAA creative scale: 8.

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Why it’s a good time to support a free MAA

The ad business, like most people who aren’t fortunate enough to produce raw energy or weapons, is facing a more than testing 2023.

The media is no exception and, just like our bigger rivals, MAA has to chart its way through such difficulties and keep to our aim of being free – something of a rarity in today’s online world.

Over the past few years donations from our readers – individuals and companies – have played a vital role and this is an appeal to those and others: don’t forget to keep supporting us if you can.

You can donate one-offs, how much or how little is entirely up to you, or, most usefully, regular amounts.

The details are here.

Many thanks to all our supporters, you really are appreciated, and welcome, we hope, to more who will join the club.

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A tale of three British ads:Toyota, Royal British Legion and Boots No7

Three ads that show the best and the not so good of current British advertising.v Technically great, idea-wise not so great.

First up Toyota for The&Partnership with, yes you guessed it, a new “brand platform” – ‘Go Beyond.’

So we have lots of people feeling inspiring, some of whom work for Toyota, and others including disabled sports car driver Billy Monger (no, me neither.) Intercut with nice shots of a Toyota something-or-other.

And go beyond they certainly seem to – but what about the cars? Toyota, which still vies with VW as the world’s biggest carmaker, has rather been left behind. A pioneer in hybrids, not so hot with EVs.

Here it shows.

MAA creative scale: 5.

Next the Royal British Legion for Remembrance Sunday (Armistice Day elsewhere) which commemorates November 11 1918, the end of the First World War (although they were still shooting each other up to close of play at 11am.)

Everywhere wears poppies (those of a certain age anyway) including all broadcasters who’ll be sporting them any day soon. And Leagas Delaney, as ever, does a pretty good job, using stock footage of necessity to show our boys (and girls) in action.

(The ad’s down here somewhere, no idea what’s happened to Vimeo, maybe the techies have got at it.)

And the RBL doubtless does a very good job in supporting them as some return in bits from hapless engagements in Afghanistan and Iraq. But I’d like to know what exactly they do.

MAA creative scale 6.

Finally Boots No7 from WPP’s The Pharm, showing us its skin revival properties. A big market doubtless and it’s not unreasonable to show users being pretty happy about the efficacy of these potions. Whether they’re enough to make you jig around in your pyjamas is up to you to judge.

Technically, like Toyota, it’s AOK. But it’s really just quick-cutting, attention-grabbing stuff which has become a curse in UK advertising. How about a narrative, or don’t these play well in research? Idea – ignore the research.

MAA creative scale: 4.

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Toyota

Toyota



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Mother London rewards creative trio with top promotions

The agency is always creatively prolific, but Mother London tends to be less high profile with its people news. Somebody’s got to be doing all that work though, and this trio’s part in the process has earnt them all a promotion.

Production is becoming a central function for agencies as more and more of the work is done internally, and at Mother a team of 60 people are currently working to realise the creative department’s visions. Emma Davenport and Anna Murray have been at the agency for 12 years and have now earned a promotion from heads of production to chief production officers.

Murray and Davenport said: “Our own growth here reflects the value Mother puts on making and its people; production is a fundamental partner, bringing creative and resourceful thinking into making the best work we possibly can. Continuing our long-lasting partnership and having the opportunity to shape Mother’s future is something we’re proud to do.”

Martin Rose, meanwhile, has moved up from creative director to executive creative director. He worked at Poke when it was part of Mother, then joined Mother New York in 2012 and a year later moved to the London team, where he has spent the last ten years working on campaigns including MoneySupermarket Strut, and Uber Eats Do Less which won a Gold at Cannes this year.

Rose said: “Before joining the Mother family 14 years ago, I lost my own. Although it will never replace her, it’s nurtured, guided, and made me who I am today. I look forward to many more years with my adopted Mum, making my own children proud.”

All three report to Felix Richter, CCO and partner at Mother, who said: “Mother has always been about the collective. We’ve been blessed to have these three help build Mother for years and are excited for them to play an even bigger role in our next chapter.”

l-r Anna Murray, Martin Rose, Emma Davenport

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