Less BS, More Facts, Some Opinions
Here’s today’s AdExchanger.com news round-up… Want it by email? Sign up here. The 360 View Life360, a location sharing app primarily for families, which also owns Tile, is entering the ad biz, The Wall Street Journal reports. The company launched an advertising data sales business, investors were told last week when the company reported earnings […]
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Talent management in gaming and esports has become a big business, yet it remains a veritable Wild West, with bad actors and conflicts of interest galore. Veterans of the space believe it still has a long way to go if it wants to become truly equitable for all involved.
Like many businesses in the space, gaming and esports talent managers flourished following the COVID-19-sparked boom in gaming activity in 2021 and 2022. This year, however, some brands’ gaming budgets have returned to pre-COVID levels, forcing talent managers to pivot to keep up, whether by helping their creators build independent businesses or by focusing on more lucrative individual deals with non-endemic brands.
To better understand how talent management in gaming and esports is shaping up in 2024, Digiday spoke to eight talent managers representing a range of companies across the industry. Here are some of the challenges they are facing — and how they hope to overcome them.
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Right-wing political groups are making a habit of targeting corporate shareholders in efforts to roll back environmental and social initiatives in the private sector.
At Disney’s annual general meeting (AGM) in April, for example, shareholders were asked to vote on proposals questioning its political donations as well as whether its corporate health insurance should cover gender-affirming treatment (both proposals were rejected).
Later this month, activists will target retailer Kohl’s with a proposal to set up a committee to question whether charitable donations to LGBTQ+ groups have harmed its bottom line, per the company’s 2024 proxy statement.
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There’s no official start to the TV and streaming advertising upfront marketplace (there’s not necessarily an end either). But this week’s presentations by major TV networks and streaming services serve as the unofficial kickoff to the annual haggling cycle.
And this year’s cycle is likely to be a long one – and potentially a bit of an adjustment to how buyers and sellers do business in the upfront.
“In general, we are much more behind this year in terms of just client readiness to commit dollars pretty much across the board,” said an executive at a major agency holding company last week. “By this time in previous years, we’ve had a pretty clear sense of what approved budgets will be. We’re probably at like maybe 50% of our budgets are pretty visible and understood at this time.”
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Thanks to Disney for sponsoring Digiday’s upfront coverage and presenting this Digiday+ Research, normally available exclusively to paying subscribers.
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It’s that time again: The yearly upfront event is taking place this week. As the TV and streaming landscapes continue a massive shift, it will be important to keep an eye on how marketers’ upfront spending shakes out.
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Maybe Snap has managed to convince advertisers of its value after all. At least, it’s trying to. Over the last quarter, the social media platform has been lauding incentives and discounts on top of its beefed up ad offering to get buy in from advertisers and ultimately maintain its recent growth.
The social media platform’s ad business has been steadily growing for the most part, reportedly raking in nearly $1.2 billion in Q1 2024, following the $1.36 billion it brought in during Q4 2023 (slightly missing its projections for the quarter) and the $1.19 billion it brought in during Q3 2023.
Snap spent the bulk of last year in the red as advertisers saw the platform as a nice-to-have rather than a must-have media buy. Since then, however, Snap has been slowly crawling back uphill with ad platform improvements to its pixel purchase optimization model, Conversions API and a few ad incentives to bring advertisers back into the fold.
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Japanese-owned agency holding company Dentsu has a bit of a history, perhaps even a reputation, for restructuring the company in search of better results. Its latest, engineered under the auspices of no-longer-so-new Americas CEO Michael Komasinski, may have unlocked the value Dentsu has been missing the last two years. New alignments have brought new clients, in the hopes of returning back to growth. (Dentsu forecasts an anemic 1% of organic revenue growth in 2024.)
What’s changed at Dentsu since Komasinski, formerly CEO of Merkle, stepped in for Jacki Kelley, who returned to IPG right after Cannes Lions in 2023? For one, the company streamlined its media brands down to three: Carat, Dentsu X and iProspect and rejiggered them with new missions and a new boss in Sean Reardon, who moved from a CEO role at programmatic firm MiQ to become CEO of Americas media practice at Dentsu in January.
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At this week’s Google I/O 2024, many marketers will be tuning in for any updates on the future of generative AI and search.
The annual developer conference, which takes place on Tuesday, has always been a place for the search giant to highlight major innovations for its various audiences. At Google I/O 2023, the company introduced its search generative experience (SGE), the generative AI search tool at the top of search results that’s been in testing for the past year.
As conversations with chatbots becomes more commonplace, generative AI will evolve SEO by challenging brands to optimize for natural language and accuracy instead of key words. Underlying all of this will be the need for credible content, but that’s a challenge with plenty of unclear strategies and solutions.
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