Less BS, More Facts, Some Opinions
Here’s today’s AdExchanger.com news round-up… Want it by email? Sign up here. The Path Less Traveled We all know what supply-path optimization (SPO) means and why it’s useful. Except, wait, what does SPO mean? “‘SPO’ – perhaps already a bigger buzzword than MFA. Every definition of SPO is different,” tweets Jud Spencer, engineering leader at The […]
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The company that owns the “DIY.com” domain is taking a DIY approach to building generative AI solutions.
Kingfisher is the parent company behind U.K. retailers B&Q, Screwfix and French brand Castorama. Back in November, it created an AI chatbot assistant in-house on the Castorama’s website, in a trial use of the technology. Seven months later, the company’s digital team believes it’s been enough of a success that they plan to roll out the application to its other businesses.
It’s an example of a brand launching an AI feature without the assistance of the agency world, which has been hard at work to prove its relevancy in this area. WPP and Publicis Groupe, for example, kicked off this year touting their own expertise with generative AI. In particular, they took pains to stress the idea that brand marketers would need to rely on their developers, their engineers and their links to companies such as OpenAI and Anthropic, to make sense of this brave new world. But some marketers are finding that agency partners aren’t necessarily necessary.
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In this edition of the Digiday+ Research Briefing, we examine how publishers are continuing to invest in programmatic ads despite budget and data challenges, how the “Fortnite” ecosystem is having its YouTube moment, and how a new TikTok social impact program could help keep creators on the app even in light of its uncertain future, as seen in recent data from Digiday+ Research.
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Defying protests from some corners of the esports industry, both sponsors and rank-and-file fans remain largely unperturbed by the entry of Saudi Arabian investors into the space. In spite of potential brand safety challenges, most esports companies’ partnership businesses have been boosted, not hurt, by the infusion of Saudi cash.
It’s no secret that Saudi Arabian money has fueled esports in recent years. From ESL/FACEIT Group (EFG) to the Esports World Cup, many of the industry’s largest leagues and events belong to the Saudi Arabian government, either directly or via Savvy Games Group, the gaming arm of the Saudi Arabian Public Investment Fund. (Editor’s Note: ESL/FACEIT Group paid for this reporter’s travel and lodging at the EFG-owned event DreamHack Dallas on June 2.)
In the past, esports companies’ flirtations with Saudi Arabian capital have been met with protests from esports fans. In 2020, for example, Riot Games announced a partnership with the Saudi planned mega-city Neom, only to end the partnership the next day following pushback from both fans and Riot employees, who expressed discomfort with Saudi Arabia’s human rights violations.
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Boring static billboards are coming closer to extinction as digital out of home media adds more tools to its offerings.
Media agencies are increasing their use of digital out of home channels in new ways as different data engagement and emerging technologies become a part of their arsenal, making the space increasingly attractive to maturing and legacy brands alike to think beyond traditional billboards.
With experimentation in digital and immersive displays to live feeds, agencies and clients are able to integrate live consumer data, heat mapping or location tracking and measurement in order to focus on other elements of performance – rather than just using OOH for brand awareness.
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With referral traffic from social platforms becoming less reliable, publishers are looking for ways to make the content posted on their social media channels more lucrative.
However, platform programs that offer compensation for publishers’ editorial content are few and far between nowadays, after social behemoths like Meta pulled the plug on Instant Articles.
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It seems the sudden shakeup at the top of The Washington Post’s newsroom is unlikely to make buyers’ evaluation of the news organization as a place to spend their media budgets any worse, given their general aversion to advertising around news content.
The Washington Post announced Sunday night that Matt Murray, former editor-in-chief of The Wall Street Journal, is the new executive editor of The Washington Post, replacing Sally Buzbee, who has served in the position since 2021. However, the day after the election on Nov. 6, Robert Winnett, a deputy editor of the U.K.-based Telegraph Media Group, will take over the newsroom and Murray will transition to building a new division at The Washington Post focused on service and social media journalism.
It’s an arguably strange time to organize a shuffle, just five months before the U.S. presidential election — and likely signals the urgent need to make changes at the news organization.
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Las campañas bilingües le vienen funcionando a varias marcas, particularmente aquellas en la industria automotriz, siendo Hyundai una de las empresas que se benefician de las estrategias multiculturales, reportando recientemente un aumento del 12% en ventas con respecto al año anterior.
“Atraer al público latino, sobre todo a la generación más joven, es algo más que reconocimiento. Se trata de celebrar sus características únicas sin pretender etiquetarlos” explica Fernando Osuna, CCO de la agencia López Negrete encargada de la reciente campaña de Hyundai ‘Un nuevo punto de vista’, titulada en inglés ‘Under a Different Light’.
Se trata de la apuesta multimedia para la nueva versión de la Hyundai Santa Fe, la SUV estrella de la marca; el comercial de 30 segundos grabado en Miami, que incorpora aspectos culturales incluyendo el tema ‘Gran Día’ de los cantautores Mau y Ricky, busca hacer eco de lo que se vive hoy por hoy al explorar los pintorescos destinos del país.
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