Month: April 2019

Digital studio Collab is best known for helping former Vine stars find their old videos on YouTube, claim them and make money off of ads that run before those videos.

Collab said it recently surpassed the $100 million mark in earnings delivered back to creators, which includes the 1,000 or so creators it represents on video rights management on YouTube, as well as branded content and other advertising deals secured by Collab on behalf of creators in its YouTube network, which spans 300 creators and 500 channels.

On the rights-management side, Collab helps creators make money in multiple ways. The main way is by actively claiming unauthorized uploads of creators’ videos — many of which are old Vine clips — by other YouTube users. These YouTube videos can be in the form of Vine compilations, which have become a popular content category on YouTube, or standalone videos re-uploaded to YouTube. Collab also has 50 of its own YouTube channels, including Funny Vines and Funny Pet Videos, which regularly feature Vine compilations featuring the talent within its network.

About 54% of the revenue paid out by Collab to creators comes from rights claims and the syndication of their videos on YouTube channels operated by Collab, according to Tyler McFadden, co-founder and co-CEO of Collab.

“We have created this passive revenue stream for creators, and it continues to be an important source of revenue for them,” said McFadden.

One such creator is Andrés Burgos, the patriarch of a family that started out making sketch comedy and other videos on Vine. Unable to make money off of their Vine videos outside of doing branded content deals, Burgos said that he was unaware that his videos — along with other popular videos from Vine stars — were being uploaded to YouTube and being monetized by other users. After hearing from other Vine stars about Collab’s rights-management services, Burgos was approached by Collab for representation. While Burgos declined to say exactly how much revenue Collab has delivered back from rights claims, he said it’s “enough for David Dobrik [a creator with 12 million subscribers on YouTube] to buy a Ferrari.”

Beyond rights management, Collab represents its creator network on branded content and other ad deals. In January, Collab gained the ability to sell ads directly across its YouTube network, which gets more than 3.5 billion video views per month, company executives said, citing Comscore data. That’s a decent chunk of ad space, which the company will now directly sell. As a result, Collab is on pace to grow creator payouts to $150 million by the end of 2019, executives said.

“There’s a tremendous market value in that reserved inventory, especially with a network of our size,” said Dave Rosner, evp and head of marketing for Collab.

Collab is also building out a talent studio for its creators. This studio includes a 30,000-square-foot production space in Los Angeles, as well as services such as acting and improv classes, writing workshops, graphic design courses and even professional photoshoots.

“It’s part of our overall offering to creators — it’s in the contracts,” said McFadden. “If you have a channel within our network, you are included in this creator development program. The goal is to help elevate your personal brand and do all of the things that go into helping creators make better videos.”

Meanwhile, Collab is also planning to extend its rights-management services beyond YouTube to other social platforms including Facebook and Instagram.

“Even though Vine is not around anymore, there is still a lot of value in the content that was created for that platform,” said McFadden.

Company executives declined to comment on Collab’s overall revenue numbers but said the company is profitable. (The company, which has 65 people in New York and LA, also has an Asian off-shoot, which it recently spun off and has another 90 employees.)

What Collab isn’t is an MCN, executives said. Unlike major MCNs such as Maker Studios and Fullscreen, Collab doesn’t have tens of thousands of creators within its network.

“Our core is 300 creators and 500 channels — right off the bat, that’s very different than an aggregated network of thousands and thousands of channels,” said Rosner. “MCNs were also born out of a time where there was hyper-growth on YouTube and a ton of VC investment going in. This is a company that’s boot-strapped to profitability.”

The post How digital studio Collab helps video creators make money — often off old Vine clips appeared first on Digiday.

TV networks and agency ad buyers are largely in agreement that someone watching a live broadcast of “This Is Us” on NBC’s linear network should be considered to be just as valuable as someone else streaming that episode a couple weeks later on Hulu.

But actually being able to measure TV networks’ linear and digital viewership on a like-for-like basis is much less straightforward than that.

True cross-platform measurement has eluded advertisers for about as long as there have been multiple platforms for campaigns to run across. However, over the last year, NBCUniversal has worked with agencies and measurement providers like Nielsen to address the issue by improving its open-source cross-platform measurement framework, CFlight, that the company introduced in April 2018 to measure ads running against its shows on traditional TV and online on an equal basis and count those exposures against advertisers’ delivery guarantees.

Agencies including Dentsu Aegis Network, GroupM, Horizon Media and Magna have adopted CFlight to measure clients’ ad buys during the 2018-19 upfront cycle. And for this year’s upfront cycle, Viacom will roll out its own version of CFlight for advertisers buying its linear TV and digital inventory, according to John Halley, evp and COO of Viacom Ad Solutions, who acknowledged that “NBCU chopped a lot of wood” and got the ball rolling in developing CFlight and working to get advertisers to adopt the cross-platform measurement product.

While CFlight remains a work in progress — in its current incarnation, the product falls short of measuring all distribution platforms on an apples-for-apples basis — the TV advertising industry has rallied around it in a sign of cross-platform measurement’s importance to protecting the ability of TV networks to generate ad revenue from their programming and, by extension, the ability of advertisers to reach large numbers of people through high-quality programming.

In developing CFlight, “we really wanted to untether from the linear broadcast because we felt it was really irrelevant in today’s environment to think of [linear and digital viewership] separately,” said Kavita Vazirani, evp of insights and measurement at NBCUniversal.

Agency executives share the sentiment. With the rise of connected TV, agency execs have been advocating for clients to consider TV networks’ linear and digital viewership to be of similar value. If two people are watching the same show on a TV screen but one is tuned into the linear broadcast and the other is streaming it through an OTT app, “I really don’t see the reason to pay differently,” said Ed Gaffney, director of implementation research and marketplace analytics at GroupM. According to an NBCUniversal spokesperson, 93% of CFlight impressions run on a TV screen.

In fact, for years advertisers have done so-called “fluidity” deals with networks including NBCUniversal, ABC, Fox and The CW, in which an advertiser buys ads against a TV show and pays the same price for those ads whether people watch the show on traditional TV or stream it online.

Measuring ad delivery against those fluidity deals, however, required agencies to cobble together different measurement products and bend over backward to try to ascertain apt comparisons across the different types of exposures. With CFlight, NBCUniversal is trying to consolidate that effort by providing a single cross-platform measurement framework that various networks, such as Viacom, can adopt and adapt to their own ends.

At the same time that other networks are beginning to adopt CFlight, NBCUniversal is expanding the measurement to more of its own content. In CFlight’s first year, NBCUniversal only made the measurement available for advertising buying its prime-time broadcast shows and NBC Sports programming. But this year, the company will extend CFlight across its entire portfolio of cable networks as well as beyond the U.S.

However, as NBCUniversal expands CFlight, the company is also working to address some of the year-old product’s limitations. CFlight’s ambition is to measure all of the ways in which people can watch its shows and see advertisers’ ads on a like-for-like basis, but in reality, it comes up short of that goal. “The devils are in the details,” said Maggie Zhang, svp of non-linear video research and insights at Dentsu Aegis Network, who added the agency is in regular communication with NBCUniversal to shore up any issues it encounters.

Across the board, the agency execs interviewed for this article were supportive of CFlight and forgiving of its shortcomings because they are the same shortcomings that have made cross-platform measurement so elusive in the past. “We’re at the mercy of the currency measurement systems we have. If they’re lacking, they’re lacking for everyone,” said Gaffney.

Currently, CFlight relies on Nielsen to measure linear TV and digital ad exposures because the measurement provider offers the most comprehensive at the moment, according to Vazirani. However, Nielsen does not measure linear TV and digital in the same way. For linear TV, Nielsen calculates the average number of viewers per minute for a show, whereas for digital it is able to track individual impressions. These differences in methodology make for more of an apples-to-oranges comparison when using CFlight to equate linear and digital viewership.

Instead of taking the average per-minute viewership for linear TV, agencies would prefer CFlight to measure linear viewership on a minute-by-minute basis. “It’s not apples-to-apples, but it’s closer,” said Brian Hughes, evp of audience intelligence and strategy at Magna.

Adopting minute-by-minute measurement for linear is something that NBCUniversal is considering, according to Vazirani. “We have not said no [to minute-by-minute measurement]. We’re just trying to assess what’s the business value of doing this and what are the requirements then of Nielsen to make that happen,” she said. According to Nielsen svp of client solutions Eric Solomon, the measurement firm is able to provide minute-by-minute measurements, but it is not part of its official currency, which is the basis on which advertisers and TV networks transact.

Additionally, Nielsen is limited in its ability to measure all exposures across linear TV and digital. At the moment, Nielsen is only able to measure connected TV impressions for NBCUniversal’s programming streamed on Roku or Hulu. In addition to OTT, Vazirani cited on-demand programming accessed through set-top boxes (otherwise known as set-top box VOD) as another area in which NBCUniversal is working with Nielsen to provide better measurement for CFlight. Solomon said the measurement firm is working with NBCUniversal to test measurement for set-top box VOD this year in hopes of adding that measurement to CFlight in 2020.

Nielsen’s inability to measure distribution points like set-top box VOD has contributed to measurement discrepancies that agencies have found between the reports they receive from Nielsen and those from NBCUniversal. In cases when Nielsen is unable to measure an impression, NBCUniversal uses the audiences that Nielsen can measure, such as connected TV viewership, as a proxy to calculate viewership, according to an NBCUniversal spokesperson. While agency execs are not exactly pleased by these measurement discrepancies, the numbers from Nielsen and NBCUniversal are “not dramatically off, but they can be off. We want more consistency between what we see and what they see,” said Samantha Rose, svp of video investment at Horizon Media.

The post One year in, NBCUniversal’s cross-platform measurement framework CFlight shows promise appeared first on Digiday.

Following its first-ever Partner Summit in Los Angeles, Snap has continued conversations with agencies on its current and future ad products.

Digiday obtained a recent pitch deck from a U.S. ad agency. The deck highlights some audience insights, including Snap’s claim that the app has 92 million in “monthly addressable reach” in the U.S. — as in users who actually see ads every month, with 34% of those users between the ages of 18 and 24.

The post Pitch deck: How Snapchat is selling ads after its partner summit appeared first on Digiday.

For most publishers, diversifying revenue streams away from volatile advertising into e-commerce and affiliate has become the norm. Dennis Publishing has now found its affiliate and ad businesses actually complement each other. As the former has grown its ad performance, it’s led to more clients rebooking campaigns.

Across the magazine publisher’s portfolio, which includes titles like The Week and Men’s Fitness, affiliate revenue grew 72% in 2018. On Dennis’ main product-review site, Expert Reviews, affiliate revenue grew 83% during the same year and now accounts for 70% of the title’s revenue, up from virtually nothing three years ago, according to the publisher.

During that time, Dennis increased the breadth and number of products it features on Expert Reviews: As well as all the tech gadgets like cameras, laptops and mobiles, the site now sells karaoke machines, mattresses and vacuum cleaners. It also tightened up its content to cater better for organic search algorithms — and covers more products that people are already searching for.

As a result, more people visit the site more regularly and for longer, according to the publisher. Traffic to the site increased by 45%, time on page increased by 47% and returning visitors increased by 74% over three years, although the publisher was unwilling to share specific figures. The change in audience quality increased click-through rates on its display ads by 140%, although this is likely from a small base as industry averages for click-through rates are woefully low at 0.35%.

“It’s a testament to the quality of audience we have been driving,” said Jenny Clements, head of partnerships and affiliates at Dennis Publishing. “This feeds into the bigger strategy of pulling data from all parts of the business to deliver a personalized user experience.”

Reading a review is a good indicator the reader may make a purchase. With this first-party data, Dennis creates niche purchase-intent audience segments for advertisers that would have traditionally been created by a third party. “Coming from Dennis, the data is more accurate and more specific,” said Amit Kotecha, marketing director at DMP Permutive, which works with Dennis. “Being able to turn that data into an asset is smart. The assumption is, the quality of the data is reflected in the ad performance. It’s putting the power back in the publisher’s hands.”

Being able to create specific audience segments for retailers around Black Friday, for instance, means the publisher can charge higher CPMs, said Alex Kirby, head of programmatic and audience data at Dennis, although she wouldn’t share specific figures. “We can also use these audience campaigns to optimize standard campaigns which increase CTR, engagement and help with rebooking campaigns with clients,” she said. This first-party audience data means the publisher has maintained strong CPMs for direct-sold display ads while growing its programmatic ad sales.

Dennis is no stranger to e-commerce. The publisher was on track to make 40% of its revenue last year selling cars. But it’s been on a long journey from viewing affiliates as a sideline project to making it a significant part of the strategy on its other sites like Auto Express and Car Buyer.

However, it’s a constant balance to ensure revenue streams complement rather than cannibalize each other, and Dennis runs multiple A/B tests on whether a prime ad slot should take priority over several affiliate links. This requires centralized teams in product management and user experience, and a centralized affiliate team of four people.

Clements says the publisher will continuously do tests as affiliate content could be ad-lite or ad-free “First, we decide what the purpose of the content is and create the user experience around it. Creating the best user experience for a user’s shopping journey is not loading a page with ads,” she added. “This is not always to get ad revenue but affiliate revenues; we work out which will outweigh the other.”

The post How Dennis Publishing’s affiliate business boosts its ads performance appeared first on Digiday.

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Not all direct-to-consumer brands are snubbing Amazon. Bark, a dog supplies brand, has embraced it instead.

The brand was hoping to get its products into more hands, and had been expanding its product selection after launching with BarkBox, a subscription box with monthly dog treats and toys designed and made in house. To reach more people, the brand wanted to go where more customers were. It started selling exclusively in Target in 2017, an exclusivity agreement that would end after one year.

In the meantime, Bark planned its Amazon strategy.

According to Bark CEO Matt Meeker, the company hired a small internal team dedicated to the Amazon business, as well as an outside consultant that had experience selling on Amazon, and then spent the next year figuring out how the marketplace’s machine functioned. What Bark’s DTC business thrived off of, that the company didn’t want to give up, was first-party data. Amazon owns all of its customer data, so Meeker and his team figured out a way to work with the infrastructure and “play the game in a better way.”

The Amazon team analyzed the existing pet category — which included AmazonBasics products of the retailer’s own — to find the highest-volume selling products with strong margin profiles. It also used machine learning to analyze the reviews and ratings of all of those products on Amazon.

“The idea was to reverse engineer our products to find out where the most opportunity for product development was, and then build the line out from there,” said Meeker. The items it found would sell best on Amazon turned into the Bark Essentials line of products like poop bags and an orthopedic dog bed, as well as CBD supplements for dogs. It launched with five products on Amazon in August 2018, and Meeker said the goal is to end this year with 20 products and hit 10x growth on the platform (Meeker wouldn’t share specific figures around the Amazon business, but said the channel is still small but growing quickly).

To boost performance of Bark’s Amazon products, the team also laid out a strategy it called “The Boost Strategy.” It starts with reviews. When a new product launches, Bark taps a team of ambassadors to test the product and, if they like it, review it on Amazon. (If they don’t like it, it asks the ambassadors to tell them directly.) Once the product starts getting tractions through reviews, it will put money behind product listings on Amazon’s platform. It’s a numbers game, according to Meeker.

“We have a formula and we can see it working,” he said. “If Amazon is going to own the top product spot in a search, that still leaves around 70 percent of the purchase for us to own.”

It’s opening up opportunities. The Amazon rep working with Bark has featured the brand in Deals of the Day and other site-wide promotions. If an exclusive product deal were to surface, Meeker said Bark would be all over it.

“For us, it’s opportunistic and about serving the customer better. They’re both friend and faux and so we have to act that way,” said Meeker. “So, let’s play according to the rules of the game and just go as fast as we can.” — Hilary Milnes

Amazon drops the Brand Registry ball
In March, after pulling purchase orders for tens of thousands of vendors, Amazon walked back the decision and reinstated them, giving brands 60 days to sign up for Brand Registry. For Amazon’s part, the registry raises the barrier of entry for who can sell with Amazon’s wholesale business. For vendors and third-party sellers, Brand Registry is a good thing, by all accounts. By registering with a government-issued trademark, brands are granted more control over stamping out counterfeit and unauthorized sellers, can build more enhanced product pages and branded storefronts, and get access to premium content products.

But, according to sellers, the process of reporting unauthorized sellers isn’t smooth. In a forum for Amazon sellers, they reported it backfiring: Instead of taking down the unauthorized seller listing, Amazon will sometimes take down the entire product listing for the registered brand that reported a violation. It can then take Amazon weeks to correct the error, resulting in weeks of lost sales.

Without being able to trust Amazon to take the right course of action, sellers are working around them. One seller wrote that Amazon’s response to seller complaints was so unpredictable, she took action into her own hands. “It’s a total guess, which is why I now hesitate to use it as an enforcement tool. If humanly possible we try to contact the violator and get it corrected and honestly it works better because they don’t want a strike against them as a seller.”

Amazon’s lack of seller support continues to be a point of frustration, a foreboding sign as it moves to make its retail business even more hands-off than it already is. “When we’re building a brand on Amazon, we expect a baseline level of support, and in this case, Amazon isn’t hitting that baseline,” another seller wrote. – Hilary Milnes

Walmart puts Art.com into action
Walmart acquired Art.com, a home decor site that originally launched in 1998, at the end of last year. At the time of the acquisition, the terms of which weren’t disclosed, Walmart said it was looking to expand its footprint in the $10 billion home decor market, starting by running the separate Art.com site and then eventually bringing its inventory across Walmart.com, Jet.com and Hayneedle.com. Thursday, Frank Barbieri, the operating partner of tech company Cluster, announced that he accepted the job as Art.com’s president and the vp-gm of category management for Walmart eCommerce.

Barbieri’s appointment speaks to a more compelling narrative that’s unfolding alongside Walmart’s acquisition strategy. When Walmart acquires a new digital business, its eCommerce team often gains a new executive as well. Marc Lore, Jet.com’s founder, and Andy Dunn, Bonobos’ founder, are now Walmart eCommerce’s president and CEO and vp of digital brands. Walmart is building more than a brand arsenal — it’s building a team of digitally minded leaders to help transform the company from the top down. — Hilary Milnes

T-Mobile rolls out digital banking
T-Mobile is teaming up with digital bank BankMobile to launch a bank account product called T-Mobile Money. The company will offer customers mobile accounts with up to 4 percent interest on balances up to $3,000 (1% after that). Customers need to deposit at least $200 a month to get these rates. T-Mobile, with its substantial network of retail stores (20,000 physical locations) has the capacity to leverage its physical presence to grow the reach of its deposit account products and market to its 73 million customers. But by moving into financial services, the telecom provider may need to tread carefully, as any arrangement to share bank account data with the wireless provider would likely be subject to regulatory scrutiny.

“The devil lies in the details [and] the challenges are going to be primarily regulatory, depending on how things are structured,” Brian Knight, director of innovation and governance at the Mercatus Center at George Mason University, recently told Digiday, about T-Mobile’s foray into financial services. “It may be regulated as a banking services provider — if something goes wrong, they may have increased scrutiny applied to them.” — Suman Bhattacharyya

Other news to know
Sears Holding Corp. has sued former CEO Eddie Lampert, accusing him of stripping the company of billions of dollars worth of assets and letting the company’s losses pile up.

Alibaba has proven impenetrable: Amazon has pulled the plug on Amazon.cn, its Chinese marketplace, meaning it will no longer attempt to sell Chinese goods to the country. Instead, Amazon said it will focus on cross-border retail in the region for international goods.

Pinterest began trading on the NYSE on Thursday, with shares trading at $23.75 a piece, 25% higher than the IPO price of $19.

What we’ve covered

DTC stretch: Digitally native brands that launched with a single product want to be category leaders.

Athleta in-house: Athleta CMO Sheila Shekar Pollak discussed bringing content creation in-house on the Digiday Making Marketing podcast.

Righting ship: JCPenney’s CEO is tasked with the tall order of pulling off a turnaround.

The post Retail Briefing: How BarkBox beat Amazon at its own game appeared first on Digiday.

In Germany, the war between premium publishers and ad-blocker company Eyeo continues to rage.

Axel Springer remains undeterred by a string of court-case losses against AdBlockPlus owner Eyeo over the last four years. Rather, the digital media giant is once again suing the firm — this time on the grounds of copyright infringement.

Publisher hand-wringing over the state of ad blocking across Europe has lessened since 2016 when it first reached crisis levels. But the loss in revenue it causes is still enough to spur publishers, in Germany at least, to continue the fight.

Axel Springer’s issue remains squarely with the business model of ABP, not with other non-profit, open-source ad-blocker software such as open uBlock Origin for instance. This software simply blocks the ads its two co-founders deem to be bad experiences. ABP’s receives revenue from publishers and platforms who pay to be on its whitelist so their ads can still appear — a model which earned it the mantle of a “protection racket” by former U.K. culture secretary John Whittingdale in 2016.

Here’s the latest:

The case: what’s new
In Axel Springer’s new court case the publisher alleges that AdBlock Plus violates copyright infringement laws. The publisher hopes to get ABP on a technicality. The claim is that ABP changes the programming code of websites in order to block inventory, and that this is illegal and infringes publisher copyright.

“Advertising blockers change the programming code of websites and thus directly access the legally protected offer of publishers,” Claas-Hendrik Soehring, head of media law at Axel Springer told German site Heise.

Naturally, AdBlockPlus denies it. After three other previous lawsuits, it’s fair to say there is no love lost between the companies. “We have not yet seen the papers that Axel Springer has filed, so we can’t comment on anything specific,” said Ben Williams, Director of Advocacy at AdBlockPlus. “They made a decision to make this public before even serving the papers to us, which is peculiar — just as the supposed claims are.”

The stakes for publishers
Last September, eMarketer published a report that showed Germany to have the highest ad-block rates, at 21.4% on desktop, followed by France at 15.4% and the U.K. at 12%. Across Europe, rates tend to fall between 20% and 25% — far lower than the 30% average reported mid-2016, but still a significant chunk of revenue.

In the U.K., the Association of Online Publishers released data last summer to show that across 14 of its members, 30% of ad impressions on desktop were blocked compared to 31.7% in 2016. The AOP calculated that at nearly £14 million ($18 million) in revenue lost due to blocked impressions. The average publisher loses roughly £630,000 ($819,000) in annual revenue, the trade body estimated.

The explosion of mobile ad blocking predicted by some firms in 2017 doesn’t seem to have materialized, in Germany at least.

But in Germany, there are suspicions among publishers that this plateauing of ad-blocking rates is a cause of concern for ABP’s bottom line. As a result, the ad-blocker firm has begun to more aggressively block pre-roll inventory by hacking into the video players on major publisher sites, or other native ad spots, according to publisher sources.  The theory is that if they can manage to block more inventory, they can ask for more fees.

Typically ABP’s fee is a 30% cut of whatever inventory is blocked. There may be occasions of flat fees. Ultimately, the 30% can be negotiable, according to publisher sources.

Lawsuit history
The story of Germany publishers taking ABP to court is a long one, and it’s only going to get longer. These cases typically take years to end and will likely cost both companies millions of Euros in lawyer fees. More than seven lawsuits have been brought against the company by media owners from 2015 to 2019. So far, they’ve all been dismissed by the Supreme Court.

Axel Springer won a partial victory in 2016 when a court ruled it shouldn’t have to pay for whitelisting. However, the Supreme Court later overturned this stating that it was legal to pay for whitelists.

In 2015, publishers Die Zeit and Handelsblatt lost their court cases against Eyeo, and in 2016, Der Spiegel saw its own case overturned. In 2017, three other media owners — RTL Interactive, broadcaster ProSiebenSat.1 and daily newspaper Süddeutsche Zeitung — had their lawsuits against Eyeo overturned.

Circumvention cat-and-mouse game
The rise of ad blocking brought with it a new game of cat and mouse between ad-blocker providers blocking ads and publishers stepping up efforts to circumvent the blocks. In many instances, publisher efforts were bona fide and helped steady ad-blocking rates or cause people to deactivate their blockers. This largely consisted of publishers communicating directly with their readers and explaining their business models were reliant on ads, via their own pop-ups. But other circumvention techniques were also turned to as a bit of a quick fix. The latter seems to have a shorter life span.

For a while, publishers used circumvention software, which reinserted ads if they got blocked. About seven months ago, AdBlock Plus revealed plans to crack down on the use of circumvention software as a tactic.

But the number of premium publishers using this technique has dropped, according to industry sources. The reason is simple: Ad reinsertion didn’t create a good user experience. They don’t cater for frequency capping, nor do they track and they also yield very low CPMs for publishers. Verdict: It’s not worth the effort.

The post Inside Axel Springer’s war with AdBlock Plus appeared first on Digiday.

Google held a meeting Thursday with its top publisher partners to discuss numerous new product changes, collectively called “unified pricing,” that could upend publisher strategy and leave them with less control over their ad inventory. It soon got heated. Multiple publishers in the group, whose attendees included The New York Times, News Corp, Dotdash, Watson… Continue reading »

The post Publishers Lash Out Against Google Over “Unified Pricing” Changes appeared first on AdExchanger.

A series of revised pricing plans has seen MoviePass’ subscription base plummet.

Is there any real difference between fraud related to well-meaning vendors versus fraud perpetrated by bot generators based somewhere in Eastern Europe?