Why You Likely Won’t See Too Much Political Advertising During the Olympics

July 29, 2016  |  Media Week  |  No Comments

With the torch about to be lit at the 2016 Summer Olympics in Rio de Janeiro, all eyes are on NBC. And with the TV-friendly time zone—Rio is only an hour ahead of the East Coast—NBC is looking to set records for viewership and advertising dollars. But even as NBC is looking at a bigger haul for ad revenue than it had in 2012—in March, the network surpassed $1 billion in national broadcast, cable and digital sales, four months earlier than it did four years ago—don't expect an onslaught of campaign ads from Hillary Clinton or Donald Trump. Unless, that is, you happen to live in one of the 10 to 14 swing states that will likely determine which party wins the White House this year. It would seem that the massive audience the Olympics provides—NBC drew more than 217 million viewers over the 17 days of the 2012 London Games, including an average of 31 million per night in prime time—would be an ideal chance for candidates to get their messages out. But with only so many political dollars to go around—Borrell Associates projected north of $11 billion in political advertising for the 2016 cycle—campaigns value efficiency over audience size, especially with all the ways available to reach voters, many of which didn't exist just four years ago. "[Voter groups] can be found and targeted in way more efficient ways," said Lenny Stern, co-founder and CEO of SS+K, the agency behind youth vote campaigns for Barack Obama in 2008 and 2012. Thanks largely to technology, marketers today have better ways to directly target specific audience segments rather than casting a wide, pricey net. The average cost for a 30-second spot for Rio is $100,000, Kantar Media estimates, which would be a slight increase over the previous two Summer Olympics. But for prime time, that price could be as high as $1 million, according to The Wall Street Journal. "Finding voters in Virginia, Ohio, Florida or Wisconsin in the most efficient way is much more important than some scaled, amazing platform that grabs a lot of eyeballs," Stern argued. The 2016 presidential election is anything but typical; you would have to be living under a rock, that was living under another rock, to not be familiar with the two candidates. After all, one is a former first lady, and the other is a reality TV star. "You're not introducing [voters] to new people," Stern said. "Here, you're really trying to target … people who are your supporters, or who are persuadable." Campaign money swings into battleground states Election ad dollars may not flow heavily on a national level—political advertising accounted for just 1 percent of all commercial inventory during the London Games—because for many campaigns, that spending occurs at the local station level. "You also bring into play on the Senate, House and local races," said Jon Swallen, CRO at Kantar Media. "There is a bigger pool of political advertising." Kantar found that in 2012, the spending was much higher in key battleground markets than in non-battleground states. Political ads only accounted for 1.5 percent of all local station inventory during the games. For example, political ads took up 38 percent of Reno, Nev., NBC affiliate KRNV's inventory.

Read More

Google’s Ad Revenue Hits $19 Billion, Even as Mobile Continues to Pose Challenges

July 28, 2016  |  Media Week  |  No Comments

Google is still the primary moneymaker for parent company Alphabet. During the second quarter of 2016, Alphabet's revenue hit $21.5 billion, a 21 percent year-over-year increase. Of that revenue, $19.1 billion came from Google's advertising business, up from $16 billion a year ago. Even as consumers shift toward mobile, Google has struggled to make more money from smartphone-size ads that are typically priced less than desktop ads. During Thursday's earnings call, Google said cost per click was down 7 percent from last year. Meanwhile, aggregate clicks on paid ads increased 29 percent from the second quarter of 2015. And Google saw a 37 percent year-over-year jump in paid clicks on its websites.

Read More

European Pay TV Giant Sky Sees Revenues Rise 7% to $15.8 Billion

July 28, 2016  |  Variety  |  No Comments

Revenues at European pay-TV giant Sky Group for the year ended June 30 grew 7% to £11.96 billion ($15.8 billion). More to follow.

Read More

U.S. Women’s Soccer Hopes These Charming Animated Videos Will Keep Fans Interested After the Olympics

July 27, 2016  |  Media Week  |  No Comments

The U.S. Women's Soccer team thrilled fans last year with its epic World Cup win, and it's set to do it again starting next week at the 2016 Olympics. Last week, U.S. Soccer launched an animated video series to fire people up to watch the team compete for its fourth consecutive gold medal in Rio and to keep fans tuned into the sport beyond major tournaments like the World Cup and Olympics. The videos, produced by U.S. Soccer and animated by Calabash Animation studios in Chicago, appear on U.S. Soccer's website and YouTube channel and feature the 18 players from the 2016 Olympic team and coach Jill Ellis. Each video includes a story from a player's past about her journey to the Olympic team. For instance, Megan Rapinoe talks about the childhood bond she shares with her twin sister; Crystal Dunn discusses how she overcame her anxieties about being short as a young soccer player; and Meghan Klingenberg talks about her college soccer team's successful attempt to break in to a late night basketball event at the University of North Carolina. Ahead of the men's World Cup in 2014 and women's World Cup in 2015, U.S. Soccer launched efforts like this one to increase engagement with casual soccer fans, including a video series called 23 Stories, which focused on the background of each player on the men's and women's national teams. "We have so many die-hard fans, but during the World Cup and Olympics, we have more of what we call a red-white-and-blue fan. Patriotism plays a big part [in the reason they watch]," said Neil Buethe, U.S. Soccer's director of communications. "They may not know as much about the team and the players, so we wanted to introduce players to those new fans in an entertaining way

Read More

This Co-Working Space Boasts Private Offices and a Fully-Stocked Resource Library

July 26, 2016  |  Media Week  |  No Comments

Fuigo, a design-focused company founded by the brothers who helm the textile company Fortuny, recently launched an upscale co-working space. The space, located on New York’s Park Avenue South, is the only co-working facility dedicated to interior designers, allowing Fuigo to cater to their specific needs. In fact, along with the opening of the space, Fuigo launched the new tech platform that the in-house designers can use to manage their businesses. Currently, 12 designers work out of the office, but that count is expected to rise to 150 by the end of 2018. And when it does, Fuigo will have more resources in place to help them succeed. “[The Fuigo resource library] is fully staffed by a ‘resource oracle,’” said co-founder Maury Riad. “It is a critical resource for designers who are constantly in need of product samples, brochures and literature so they can efficiently complete their projects. When complete, it will have product from over 1,500 vendors.”

Read More

This Week’s Must-Haves: a Chic Vacation Hat That Lets People Know You’ve Unplugged

July 26, 2016  |  Media Week  |  No Comments

This week, the Adweek staff is highlighting Eugenia Kim's vacation-ready straw hat, an outdoor pizza grill that doubles as a charger and more. Take a look!

Read More

CBS Spins Off Carpool Karaoke Into Its Own Series, on Apple Music

July 26, 2016  |  Media Week  |  No Comments

The Late Late Show with James Corden wasn't kidding about trying to beat Spike's new rival series (also combining cars and karaoke) to the punch. Today, CBS Television Studios announced that Apple Music had landed global rights to Carpool Karaoke, a series based on the wildly popular segment from The Late Late Show. It will be created and produced by Corden and Late Late Show executive producer Ben Winston. The weekly series will consist of 16 episodes, in which celebrities ride along with the host and "visit places meaningful to the celebrity," according to the release. A host (which is very unlikely to be Corden) and premiere date will be announced later. CBS said Carpool Karaoke will also continue as a recurring segment on The Late Late Show. Apple Music is available in more than 100 countries. The service, which gives subscribers access to more than 30 million songs, costs $9.99 per month. While the show is obviously a good fit for Apple Music, it's still surprising that CBS didn't put the series on its own fledgling streaming service, CBS All Access. Executive producers had initially been dismissive of efforts to spin off Carpool Karaoke, as The Tonight Show Starring Jimmy Fallon had done with Lip Sync Battle on Spike

Read More

With Verizon Deal, Yahoo and AOL Are Finally Together

July 25, 2016  |  Media Week  |  No Comments

Yahoo's long, winding and rocky road has finally come to its conclusion. Verizon announced this morning that it has acquired Yahoo's operating business for roughly $4.83 billion, which had long been expected ever since Yahoo put its core business up for sale. The deal, which is subject to usual regulatory and shareholder approvals, is expected to close early next year. When it does, it will finally wed Yahoo with AOL, which Verizon bought last year. "Just over a year ago we acquired AOL to enhance our strategy of providing a cross-screen connection for consumers, creators and advertisers," said Verizon chairman and CEO Lowell McAdam, in announcing the deal.

Read More

Adweek’s Creative 100: Meet the Top Thinkers, Makers and Doers in Marketing and Media

July 25, 2016  |  Media Week  |  No Comments

If creativity, deep down, is just inventive problem solving, clearly it's more in demand than ever in a world of increasingly complex business challenges—and a political and cultural landscape, in America and globally, that seems to be spiraling into nightmare. Adweek's sophomore edition of the Creative 100 —our annual list celebrating masters of the creative idea—profiles 100 unique and fascinating problem solvers from the worlds of advertising, media, technology, branding, pop culture and more. Just as advertising has taken a broader role in addressing issues beyond the corporate bottom line, this list also honors creatives who aren't just profit generators. Our cover star, Milana Vayntrub, is a perfect example—an improv actress whose creativity drives business for AT&T but also, in her activist work for Syrian refugees, helps some of the world's most disenfranchised people. Many of our 2016 honorees are hybrids in a similar fashion.

Read More

How Milana Vayntrub Quickly Rose From Surprise Ad Star Into a Creative Force for Good

July 25, 2016  |  Media Week  |  No Comments

Vayntrub has appeared in 40 spots for AT&T, although she was only supposed to be in one. Photography by Robert Ascroft The first thing you need to know about Milana Vayntrub is that she's much more than the bubbly, witty AT&T store manager Lily Adams who she plays in the ads from BBDO New York—though she won't fault you if that's why you recognize her, and she's very happy to have the work, thank you very much. It's a sweltering July morning, and we're in the heart of Los Angeles' Silicon Beach, at YouTube Space L.A., where Vayntrub has sequestered herself to digest footage she filmed the week before in Azraq, Jordan. In January, she released a 13-minute documentary, Milana Can't Do Nothing, introducing the public to her own refugee story (her family fled Uzbekistan for the U.S. in 1989) and making clear the uninhabitable conditions that many Syrian refugees find when they do make it to Greece. Now she's working on a follow-up. She'll spend the next month hunched over her laptop, editing a new doc that will show people who have donated to the nonprofit she has since created, Can't Do Nothing, and where their dollars have gone, while using her own recognizable face to bring attention back to the ongoing refugee crisis. As we sit in the chilly editing room, the 29-year-old actress, director and activist—and now, Adweek's Creative 100 cover star—tries to reconcile the refugee project with her other creative pursuits. She has a bit part in this month's Ghostbusters, she's just wrapped filming on a new David Wain movie, A Stupid and Futile Gesture, and she's directing a new show for the Upright Citizens Brigade. She feels privileged to be involved in so many projects, and knows that at least some of that success is thanks to the high-profile AT&T campaign that's put her squarely in the spotlight on national TV for two and a half years. Since December 2013, Vayntrub has appeared in 40 spots for the brand, though she was only supposed to appear in one. Adweek's cover star is working on a second documentary about refugees. Styling: Xavier le Bron; Hair: Mishelle Parry/Celestine Agency; Makeup: Leibi Carias/Celestine Agency; Manicure: Chelsea King/Celestine Agency "The first spot was so successful for us that we thought, let's do another one and then another one and then another one. It was so well-received that we kept bringing her back," says Valerie Vargas, vp of advertising and marketing communications for AT&T. "I think Milana's Lily resonates with audiences because she's a multi-dimensional character in a way that's rare for commercials," says Hungry Man director Hank Perlman, who has been behind the camera for most of the Lily spots. "We try as hard as we can not only to make her funny but to make her as strong, smart and human as possible.

Read More