Surging photo-sharing app BeReal has brands like Chipotle, e.l.f. Cosmetics rushing to understand platform’s appeal with Gen Z

The brands have found their way to BeReal, the new French-founded, young-demo skewing, photo-sharing social media app in which users have two minutes to capture and share a real-time photo with a network of friends. And as it swells in popularity, agencies are starting to have conversations with their clients about what a presence on BeReal could look like, or if there should be a presence at all.

“Clearly, BeReal is top of mind for marketers who are trying to figure out what’s going to be the next platform that pops,” said Noah Mallin, chief strategy officer at IMGN Media. 

As the platform’s user base quickly grows, so does interest from brands looking for the next shiny thing. While agencies report a slight uptick in BeReal client inquiries, there’s mixed thinking about just how marketing should work on the platform. Especially as BeReal gained traction with users looking for a less curated, ad-free social media experience. (Hence the name, BeReal). In marketing, chasing the newest thing is commonplace, but often leads to short-lived experiments. (Remember Clubhouse?)

Since its launch in December of 2019, BeReal has been downloaded 43.3 million times, according to mobile app analytics firm Apptopia. Of those 43.3 million downloads, nearly 41 million have come this year, with the U.S. contributing 40% of new users. In comparison, TikTok was downloaded 656 million times last year alone, per Apptopia. BeReal’s explosive growth over the last few months has been attributed to cross-posting BeReal content on Twitter and TikTok, as well as the Gen Z’s increasingly aggressive search for an Instagram antithesis.

Major brands like Chipotle and e.l.f. Cosmetics have already launched brand accounts on the app, becoming early adopters and building hype with discount codes. As of reporting time, both accounts had too many friends and were unable to process new friend requests. (It’s unclear the exact maximum number of friends a BeReal user can have.) The limitation of friends is one of the reasons not all advertisers are sold on recommending the app to their clients. 

“There’s so much ambiguity around whether the platform is going to adapt to involve brands,” said Charlie Naus, managing director at Carson + Doyle creative agency. “It seems like they’ve been very adamant against it in the way that it’s built and the philosophy of the business.” 

Out of the 20 clients Carson + Doyle currently has, at least three have asked about BeReal over the last three weeks, according to Naus. He declined to name the clients that inquired. “Unfortunately, the conversation dies out because I don’t have answers to questions that BeReal hasn’t answered,” he said. Like, will BeReal adapt to be more search and discovery focused, similar to TikTok and Instagram, instead of follower focused? Or will there be space carved out “for brands to survive?” he said.

According to BeReal’s terms and conditions, users are not allowed to “use BeReal for advertising or commercial purposes.” Albeit, it’s unclear how BeReal would enforce anti-ad conditions. And in its current state, BeReal is not designed or optimized for brand discovery — users don’t expect brands to be there and there’s little value for consumers who follow brands on BeReal. 

“It goes without saying that brands who expect to move over into BeReal — and expect the same performance marketing aspects as other social platforms — will be sorely disappointed,” Brandon Biancalani, head of paid advertising at ad agency Modifly, said in an email.

That’s not to say there’s no hope for brands on BeReal, Biancalani added. Discount codes, limited secret promotions and behind the scenes looks are all potential BeReal ideas that could work, he said. “This adds an element and factor of the unknown to entice users to engage and interact with the brand’s BeReal content,” he said. BeReal did not respond to a request for comment in time for publication.

In a short period of time, the social media newcomer has challenged other social media platforms like TikTok, which recently launched its own BeReal copycat feature. Even Saturday Night Live took notice of the app’s growth, rolling out a BeReal-themed skit in early October.  

With that in mind, Brand New: A Collective marketing collective is ramping up conversations around BeReal KPIs and investment opportunities with at least one client, which they declined to name, in hopes to be early adopters. “Our goal is to try and be early adopters and understand how we can turn this into a potential service offering before we become late in the game,” said Alyssa Convertini, co-founder and CEO of Brand New.

It’s too early to tell whether or not BeReal will see the same massive wave of adoption that TikTok did, especially with the app’s current limitations, according to IMGN Media’s Mallin. However, he suspects the photo-sharing app will start to build in functionalities that will make it easier for brands to participate in the near future. BeReal has been a client talking point for the past few weeks for the agency, which is now working on a proposal for one client, which Mallin declined to name, based on initial questions.

“This is all part of that hype cycle for apps,” he said. “Whether the interest actually converts into activity is the question mark.”

How Estonia adjusted its national branding strategy in response to the war in Ukraine

In response to the Russian invasion of Ukraine, the nation of Estonia is touting what it sees are democratic values as part of its multi-pronged national branding strategy.

Estonia, which borders Russia in northeast Europe, has invested in a national branding effort since the early 2000s — a push to consciously reshape the nation’s image and draw increased interest from tourists and entrepreneurs. It codified the practice in 2016, when the Estonian government officially formed Brand Estonia, the agency in charge of the effort. (Editor’s note: The government of Estonia paid for this reporter to travel and board for a two-day press tour).

“Brand Estonia was developed by Enterprise Estonia, which has now turned into the business innovation agency,” said Stina Vürmer, a project manager for Brand Estonia. “So we are subdivisions with their own goals and topics, and Brand Estonia is like the umbrella that we all use, in terms of visual communication.”

In addition to creating a brand identity for Estonia, including custom logos, color schemes and fonts, Brand Estonia has largely focused its messaging on three pillars, according to Brand Estonia founding member Alari Orav: Estonia’s digital nationhood, its natural beauty and its prioritization of freedom of thought.

So far, the effort has been a success. “Estonia was one of the most-searched countries for entrepreneurship, ahead of the U.K. and Hong Kong, which are established brands, and right after Israel, which is considered the start-up nation,” said Jose Torres, CEO of the national branding agency Bloom Consulting, citing internal figures from a journal article his company published on the topic. “We saw an 83% growth in terms of people searching for Estonia from 2015 to 2018.”

Following Russia’s invasion of Ukraine in February, Brand Estonia officially added a fourth pillar to its national brand: the country’s embrace of democratic values to assure potential visitors and investors that Estonia will not fall under Russia’s influence, even in the face of mounting aggression by the larger nation.

“We didn’t want to just say it was about safety, though of course it was about safety,” Orav said. “But it’s also about defending democratic values.”

Estonia’s redoubled national branding push is reflected in the nation’s official government policies. Estonian Prime Minister Kaja Kallas developed a reputation as Europe’s “new Iron Lady” for her outspoken criticism of Russian aggression and commitment of considerable materiel support to Ukraine; in March, Estonia suspended its e-residency program for applicants from Russia and Belarus.

“They’re a small country, and they know exactly what they are. And what they are is, they’re not Russia,” said Natasha Grand, director of the Institute for Identity, a national branding firm. “Even before the Ukrainian crisis started, if you look at their brand values, the first thing they say is that they’re a democracy.”

As the war in Ukraine continues, there are potential challenges to Estonia’s new approach to its national brand. Russians represent the largest group of Estonian e-residents, and Estonia’s hard-line approach could risk alienating individual Russians, rather than simply standing against actions taken by the Russian government. But Estonia’s rapid response to Russia’s invasion of Ukraine shows how countries must carefully shepherd their national branding to react to geopolitical events.

“A brand is a living thing. Like a country, it’s always changing,” Orav said. “Every year, I think we’re done with this, and then something else comes up.”

Green Mountain Coffee Roasters partners with Martha Stewart to retool its social media strategy

Green Mountain Coffee Roasters wants to get the attention of younger consumers while maintaining its standing with its current customer base. The coffee brand has tweaked its approach to social media — it was previously tailored to Gen X — to also show up where millennials and Gen Z are spending more of their time.

“Our objective is to recruit new, younger Green Mountain Coffee Roasters consumers while driving existing fans to continue to purchase,” said Phil Drapeau, svp of coffee marketing at Green Mountain Coffee Roasters. To do this, the company created more easily digestible content for platforms like Instagram while also adding TikTok to the mix.

At the same time, the company has enlisted an unexpected influencer, Martha Stewart, to get the attention of younger consumers who may know her from working with Snoop Dogg, while also maintaining the attention of older generations. Stewart appears in a 30-second spot for the brand. She posted the ad on her Twitter (3.4 million followers) and Instagram (1.7 million followers accounts). The ad was also published on the brand’s own channels, and was widely distributed across digital, print and broadcast media.

Drapeau also said that the younger target audience is made up of heavy social media users, hence why social media played such a prominent role in this effort. “By partnering with her, we were able to flex the provocative creative muscle of the idea but in a wholesome way that is closer to the Green Mountain Coffee brand tone,” said Drapeau. The video has over 4.6 million video views on Instagram as of October 2022, according to Sprout Social’s social media analytics tool.

It is unclear how much of the Green Mountain Coffee Roasters’ advertising budget is allocated to this effort, as Drapeau would not share overall budget specifics. According to Pathmatics data, the brand spent a little over $3.1 million so far this year on advertising efforts. Drapeau declined to share how the budget was split between the social media platforms. In September 2022, the brand allocated 11% of its monthly social advertising budget on TikTok (none in 2021), 65% on Facebook (45% in 2021) and 24% on Instagram (29% in 2021), per Pathmatics data.

Aside from retooling where the company is spending ad dollars on social platforms, Green Mountain Coffee is also touting a shift in ingredients as it moved away from artificial to natural ingredients for its pumpkin spice flavor. Drapeau hopes doing so will help the team reach its new target audience as Gen Z uses social media to fact-check their food products as they are more concerned about what they eat. “We recognize that consumers needs change so we evolve our approach to keep pace,” said Drapeau.

A wide range of coffee brands get a significant benefit from pumpkin spice promotion each year as a result of the marketing campaign used to promote the spice for their products. Since its first debut in 2003, major companies have created their own copies of this popular drink such as McDonald’s, Starbucks, and Dunkin Donuts. The pumpkin spice trend is not limited to coffee, as it has also spread to other drinks, such as beer.

“Green Mountain found a way to cut through the ubiquity of pumpkin spice latte season,” said Colton Morris, senior planner, insights and action at Mediahub, a global media planning and buying agency. “The campaign made waves while playing to the strength of the product line, so no matter which way you cut it, the conversation comes back to natural.”

Future of TV Briefing: The present and future of TV and streaming’s identity layer

This week’s Future of TV Briefing looks at how the TV and streaming ad market’s identity layer has developed in 2022.

  • ID check
  • Warner Bros. Discovery’s burnt-out workforce, Hollywood’s extended COVID protocols, TikTok’s latest live shopping plan and more

Join the conversation. Scroll down to use Digiday+ Comments, giving the Digiday+ community the opportunity to discuss timely industry topics with other members, along with our editors and reporters who are talking about this story now.

ID check

The key hits:

  • Identifiers are gaining broader adoption across streaming services.
  • No specific ID is likely to dominate the marketplace.
  • OpenAP and FreeWheel are taking steps to make IDs more interoperable.

The identity picture for TV and streaming is coming closer into focus.

Historically, traditional TV and streaming have evaded the third-party cookie problem. Set-top boxes, smart TVs and connected TV devices simply don’t support cookies. And while the IP address has been co-opted by streaming ad buyers and sellers as a cookie-like identifier, the IP address is an unreliable option.

But this year in particular, there has been some notable development in establishing an identity layer for TV and streaming. “We’re certainly seeing the identity concept take shape, and the concept is integral for the actual practical layer to become a thing,” said an agency executive.

  • IDs such as Unified ID 2.0, ad tech firm LiveRamp’s Ramp ID and advanced TV and streaming ad outfit OpenAP’s OpenID have increased their level of adoption among streaming services. 
  • FreeWheel is working to connect various streaming-capable identifiers, including OpenID and Ramp ID, to establish a lingua franca among the IDs. 
  • Most recently, OpenAP is making its OpenID available for use when advertisers programmatically buy inventory from participating streaming ad sellers — such as top-tier TV networks like Fox, NBCUniversal, Paramount and Warner Bros. Discovery, which jointly own OpenAP — through supply-side platforms owned by Comcast-owned FreeWheel, Magnite and Microsoft-owned Xandr. 

“We’ve made a lot of progress with the individual ID space this year. Like, adoption of [Unified ID 2.0] on CTV from the beginning of the year to the end of the year is massively different,” said Mohammad Chughtai, global head of advanced TV at MiQ, which specializes in managing programmatic buying for advertisers and agencies.

But the sheer adoption of individual IDs will not be as meaningful a measure of progress as the eventual interoperability among these IDs. The industry has come around on accepting that “there’s not going to be one ID solution to rule them all,” said the agency executive. So for TV and streaming’s identity layer to not only take form but come to life, interoperability is a necessity.

“Part of the FreeWheel announcement is interoperability between OpenIDs and FreeWheel IDs. That was really key for both direct campaigns but it’s also really key for this announcement we just did from a programmatic perspective,” said OpenAP CEO David Levy.

Basically, there are two strains of activity underway.

The first is establishing support for individual IDs across the marketplace and to have that support span direct sales and programmatic sales so the basis for a campaign’s targeting and measurement match to avoid miscounts. Case in point: OpenAP’s extension of OpenID to programmatic sales, which allows advertisers to buy ads programmatically and/or directly from a TV network, CTV platform or streaming service that are targeted to a specific audience based on a single identifier and have the ads’ delivery measured against that same audience based on that same identifier. 

“What we’re basically doing is lining up a priority list from our publishers of all the endpoints that they can about and making sure that we can distribute an OpenID,” said Levy.

The second is establishing interoperability among those identifiers. Case in point: FreeWheel’s identity initiative.

“How do we connect buyers and sellers who want to transact in these new ways leveraging audience but do it in a way that, at the end of the day, how can the publisher say yes to OpenID, yes to the other ID, yes to some proprietary advertiser ID? How can we help to be that glue that allows for those two relationships to take place,” said FreeWheel general manager Mark McKee.

That glue is crucial but also complicated — and crucial because of the inherent complications in laying out this identity layer. Beneath the layer of IDs like OpenID, Ramp ID and UID 2.0 is the foundation of data used to link individuals and households to an ID. The data comprising that foundation ranges from people’s email addresses and IP addresses to personally identifiable information collected and managed by credit monitoring services including TransUnion and Experian. The core of OpenAP’s OpenID, for example, is TransUnion’s data, though the organization also licenses data from Experian and LiveRamp and appends data from participating publishers to its OpenIDs. 

In short, for the progress being made on the TV and streaming identity front, there is still plenty of work to be done. That work will entail broadening the adoption of the various individual IDs. YouTube, for example, is a top-two streaming service in terms of TV screen watch time but has not announced support for any of the mentioned IDs. However, the larger undertaking will be establishing the interoperability among them.

“That cross-ID space or the unification bit is where the biggest gaps are. As a marketer, you’re stuck between the choice of ‘Do I go really hard on a single ID space with the intent that I think this will be the future of identity? Or do I wait it out and try to get by the way I am and check in a year or two years from now in terms of where the industry has developed to?’” said Chughtai. “I think the vast majority of marketers are in that second camp.”

“Being able to buy on some type of ID solution… that is where the puck is headed,” said the agency executive. “But I do think we’re very much in the infant stages of learning both how real and how meaningful something like this is and where it goes in terms of further evolution.”

What we’ve heard

“Our fear is if [P&G marketing boss] Marc Pritchard shows up at CES of Cannes and says, ‘We’re going with Nielsen One,’ it’s going to be very hard for anybody to say they’re not going to do that too.”

Agency executive on the potential impact of top marketers in TV’s measurement currency shakeup

Numbers to know

15 million: Number of paid subscribers that NBCUniversal’s Peacock has.

-7%: Percentage year-over-year decline in national TV ad spending in August.

$63.7 billion: How much more annual revenue linear TV generates than streaming.

33%: Estimated year-over-year increase in ad sales for long-form ad-supported streaming services and connected TV platforms in 2023.

$990 million: How much revenue TikTok generated in Europe in 2021.

61%: Percentage increase in ad spend for FuboTV after adopting Unified ID 2.0 to sell connected TV ads through The Trade Desk.

What we’ve covered

Why Netflix, Paramount+ and other streaming services are borrowing from gaming IP as the media wars heat up:

  • “Cyberpunk: Edgerunners” has become one of the most-watched shows on Netflix.
  • Paramount+ has debuted a mockumentary show spoofing esports competitions.

Read more about gaming IP here.

With Roku leading the pack, study says 94% of households are reachable through connected TV:

  • In 2021, the share of U.S. households reachable through CTV ads bought on the open programmatic marketplace was 86%.
  • Roku leads with nearly half of the share of ad dollars going through CTV’s open programmatic marketplace.

Read more about CTV’s household penetration here.

TikTok claims to clean up its feeds as it increases the removal of fake accounts, ads and pre-teen users:

  • TikTok removed more than 59 million accounts in the second quarter of 2022.
  • The platform took down 113 million videos for policy violations.

Read more about TikTok’s cleanup effort here.

What we’re reading

Warner Bros. Discovery’s burnt-out workforce:
WarnerMedia and Discovery only officially merged in April, but the combined company’s employees are already feeling expended by its incessant wave of layoffs and cost-cutting, according to Vanity Fair.

Hollywood’s extended COVID protocols:
Film-and-TV unions have extended the health and safety protocols for productions that were introduced during the pandemic as the parties continue to sort out agreement on how to update the measures, according to Deadline.

TikTok’s latest live shopping plan:
TikTok plans to roll out a live shopping program in the U.S. through a deal with live shopping tech provider TalkShopLive, according to Financial Times.

Visual effects’ artists union ambitions:
Visual effects artists who work on movies and TV shows may form a union by next fall in light of increasingly demanding workloads, according to Bloomberg.

Free streamers’ single-show channels:
Free, ad-supported streaming TV services effectively serve as ambient entertainment, so maybe it shouldn’t be so surprising that FAST channel operators are more or less dedicating their channels to consistently airing the same shows at (nearly) all hours, as Fierce Video reports.

Massive political advertising clashes with holiday media buying, creating a ‘tsunami’ effect for Q4

Political and holiday media planning are running into each other like never before, creating a huge wave of media spending for the end of the year.

Every two years, political advertising cuts into the early portion of holiday-related planning and buying, whether that be retailers pushing pre-holiday sales, toy companies marketing their latest innovations or quick-serve restaurants encouraging as much eating-on-the-fly while shopping for gifts. 

This year, the fourth-quarter ad marketplace feels quite different, and for a number of reasons, some for the better and some not. They include: 

  • A more vituperative political environment that could lead some holiday-related advertisers to keep their campaigns out of the market till the mid-term elections are over. 
  • Higher ad rates because so much midterm political money has gobbled up inventory across digital and some local media platforms, tightening up the market.
  • An abundance of inventory across connected TV and streaming is attracting advertisers who would have historically spent in traditional media such as radio and local print, which are being left in the cold.
  • Lingering supply chain effects that are causing holiday marketers to cut back when historically they’ve increased budgets at this time. 
  • The need for holiday marketers to alter their messages to reflect the sober economic environment — changing from “buy more stuff with our deals” to “we know it’s tough so we’re helping you save money.” 
  • It’s no surprise that there’s more political money flooding the marketplace, especially where there are tight races. Around $9.7 billion is expected to be spent on political advertising in 2022, up from $9 billion in 2020’s presidential cycle, according to AdImpact. 

“It feels like we’re walking into a holiday tsunami,” said Kim Sivillo, CEO of mSix&partners, a media, content and commerce agency that’s owned by GroupM and The&Partnership. “It’s like no other holiday period that I’ve ever overseen or any political cycle that I’ve overseen — there’s so many factors. There’s not a playbook — it really is going to be by client, by inventory, by [clients’] political views … We’re going to be busy this quarter.”

Media buying for holiday advertisers has even lengthened over time, with post-holiday advertising by retail clients offering sales and the chance to use those gift cards received during the holidays. “It’s really become like the third wave of holiday, if you will,” added Sivillo. But she cautioned that’s when retailers, and even luxury brands, need to be careful with messaging to convey a message of helping out and savings rather than splurging. 

Traditional media this time around is taking it on the chin more than usual, noted Gordon Borrell, CEO of analyst firm Borrell Associates, in part because traditionally-heavy advertisers like auto dealers, furniture stores and HVAC firms have other places to spend their money.

“It’s rough out there for traditional media companies,” said Borrell. “Typically, the clogging of radio and TV’s limited inventory has allowed some spillover to other types of local media. That doesn’t appear to be happening because OTT has opened up a new video channel that eases the pressure. So there’s no real spillover to non-broadcast media.”

Traditional local media are struggling to get non-political dollars because digital — particularly SEM and social, “seem to have sucked away so much,” added Borrell, citing research on small to medium sized businesses his firm recently conducted which clearly revealed that those digital options generate the most and highest quality leads for those advertisers.

The effects of change aren’t being felt as much at a national level, since there’s no presidential election at stake.

One major holding company agency national investment executive, who declined to speak on the record, said not much has changed from prior election years. “In election years, big holiday spend always begins post- election,” said the exec. “The more relevant variable on holiday spend this year is the economy/supply chain and we are seeing some economy-driven cutbacks.” 

Why Elon Musk Wouldn’t Face Twitter in Court

Legal experts say that Musk faced an “uphill battle” to prove his claims of fraud over bots on the platform, and risked damaging revelations during trial.