Less BS, More Facts, Some Opinions
TV and video measurement provider iSpot is fielding a lot of election season concerns from buyers as political ad spend increases in the weeks leading up to the 2024 presidential election.
The post Don’t Go Dark On Advertising During Election Season, New Research Suggests appeared first on AdExchanger.
Enjoy this weekly comic strip from AdExchanger.com that highlights the digital advertising ecosystem …
The post Comic: Warning: Contains News appeared first on AdExchanger.
Is advertising to kids on social media as bad as advertising cigarettes to kids? Plus, DuckDuckGo doesn’t want Google’s scale to go away.
The post Social Media May Be Hazardous To Your Health; The Google API You Hope For appeared first on AdExchanger.
Since the advent of generative AI roughly two years ago, one concern has persisted among marketers contemplating the advantages of the tech — bias.
Agencies such as DDB, Monks and Huge, as well as generative AI marketing platform Pencil, hope to bolster their clients’ confidence through a mix of human corrections and technical fixes. The latter has this week unveiled a spread of new solutions its executives hope will quell client worries and provide a welded fix, if not a solution, for the issue.
Pencil, owned by marketing services group Brandtech, has added a “Bias Breaker” feature to its AI tool suite, begun offering advisory services to help clients write bespoke AI ethics and legal policies, and incorporated anti-bias units into its training scheme for clients.
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Many of the headlines surrounding Google center largely on how the biggest company in advertising will look following its latest battle with the U.S. government.
However, away from the developments in a courtroom in Eastern Virginia, it’s business as usual for Google. On Sep. 12, it unveiled a new tool to its suite of marketing dubbed “confidential matching.”
According to Google, the new offering uses “Trusted Execution Environments” (TEE) to help advertisers use its suite of marketing tools for their online campaigns to ensure that their first-party data, such as CRM lists or customer loyalty data, is less prone to data leakage.
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The creator economy is booming with brands chasing viral trends to monetize cultural moments online.
In response, creators behind those viral moments are increasingly looking for ways to stretch their 15 minutes of fame, including launching their own podcasts, product lines, e-courses and talent agencies. There’s money at stake: the creator economy is expected to be worth $480 billion by 2027, according to Goldman Sachs’ calculations.
Consider Logan Paul’s Prime drink, Mr. Beast’s Feastables snack brand or Emma Chamberlain’s Chamberlain Coffee, which have become real industry category disruptors, experts say. It’s not a new phenomenon, per se, but there are a few reasons the trend shows no signs of slowing, according to three agency execs Digiday spoke with for this story.
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After a series of smash hits, Hollywood’s video game adaptations are starting to face more scrutiny from gamers. The pushback is a sign of potential burnout among moviegoers — but also shows that game adaptations are here to stay.
As gaming film and TV adaptations such as the “Super Mario Bros. Movie” and “The Last of Us” crescendoed in popularity last year, Hollywood studios jumped to scoop up other popular gaming properties, viewing gaming as potentially the next great source of IP after the success of comic book adaptations in recent years. In 2024, the downstream effects of this feeding frenzy are becoming visible in the form of releases such as last month’s “Borderlands” film, as well as the teaser trailer for “A Minecraft Movie” released by Warner Bros. last week.
There’s just one problem: Gamers do not appear to be happy about this latest run of adaptations. The “Borderlands” movie has become one of the year’s biggest flops, failing to make back the majority of its $120 million budget. And the online gaming community has thus far had a mixed reaction to the “Minecraft” movie teaser, with many gamers criticizing the trailer’s over-reliance on CGI and heavy-handed references to the original game.
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On Thursday in federal court, the U.S. Justice Department introduced internal Google documents — including emails, chat logs and audio recordings — that showed Google execs’ plans around the introduction of new publisher tools to compete with header bidding.
Evidence submitted by the DOJ suggests Google knew about industry unease over the evolution of DoubleClick — Google’s publisher platform in question as part of the antitrust trial — but continued on its path to monetization anyway and even took measures to allegedly thwart efforts to side-step its control. Documents also gave a behind-the-scenes look at how Google execs understood why publishers wanted to diversify revenue away from the Google-controlled advertising waterfall and employ rival monetization technology header bidding instead.
One of the DOJ’s witnesses for Day 4 was former Googler Rahul Srinivasan, who at the time was product manager for Google Ad Manager between 2016 and 2019. Srinivasan discussed the rollout of various features within Google Ad Manager, such as a move to a first price auction, removal of publishers’ Last Look, and the introduction of Unified Pricing Rules (UPR).
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