If you open
a podcast app, like Castbox, Spotify or Apple Podcasts, the content available
is immensely vast. Hundreds of thousands of podcasts in every thinkable
category, available with the tap of a finger and a slip of an earbud.
Want to
learn something about unconscious patterns that drive human behavior? Try NPR’s
Hidden Brain. Can’t get enough true
crime stories? Try season one of Serial, which might be credited to starting the
whole podcast craze. Perhaps the newest, burgeoning fiction podcast category
might be more your speed. Short 20-minute audio experiences tell a story over a
handful of episodes. Featuring the voice talent of actors like Rami Malek and
Josh Gad and complete with sound effects and music, they create a new kind of
digital audio content that hasn’t existed before.
Podcasts have
become an easy way for people to learn and relax. And with the ability to
listen across devices, and with a multitude of available app choices, you can
start a podcast on a phone to make a lengthy work commute go faster. When you
get home, pick up where you left off by casting to a Google Home device and
make mundane chores like washing loads of dishes seem not so boring. These new
listening scenarios have created new opportunities for brands to engage with
potential customers in places and times that previously were more difficult to
tap into.
Follow
the money
Plenty of
people are consuming podcast content, but are the ads that go with them
resonating with listeners and delivering an impact back to the brand? Kantar
conducted an analysis of 12 podcast ad campaigns which were inclusive of automotive,
CPG, finance, technology and other brand categories. Findings indicated that ads
in podcasts contributed to increased brand awareness at a near identical rate
to other channels, including in comparison to traditional radio and display. However,
when looking at lower-funnel metrics, like Brand Favorability and Purchase
Intent, podcasts emerged with lifts 37% higher than other media channels in
aggregate. Results like these suggest that listeners are connecting well with
the ads that run within podcasts and this resonance is translating to strong brand
growth.
Source: Kantar MarketNorms®
As
consumers are spending more time behind personal devices, podcasts aren’t just
a shiny new way to spend coveted ad dollars. As discovered in Kantar’s Getting
Media Right study in 2019, marketers are recognizing the impact and potential
of podcasts, and plan to funnel more of their budgets to podcast advertising in
2020. This intent to increase spend puts the medium just behind planned dollars
devoted to online video and social, but ahead of traditional channels like
radio and online display.
Source: Kantar Getting Media Right 2019
The IAB
reported in 2019 that podcast ad spend was estimated at nearly $679M and with
the presence of podcasts on media plans expected to soar in the next year, it
could easily surpass more commonly used media channels as a relatively uncluttered
way to engage with both niche and broad audiences.
Fun with
formats
A variety
of ad types have emerged, from companion banners in-app and dynamically
inserted pre-recorded ads to baked-in voice-overs read by the host in the
middle of the podcast, and the ever present “this podcast is brought to you
by…” opening message. So, there are plenty of opportunities for advertisers to
fully leverage the podcast platform and engage listeners from multiple angles.
Increased
advertising in podcasts will help define the effectiveness of different podcast
ad formats and how they create varied content experience for consumers. However,
with the superior ad effectiveness seen so far for podcasts and high brand
interest, the medium should be a fast-growing channel with loads of potential
for media companies to deliver unique advertising opportunities to in a
“quieter” media environment.
As stakeholders across the digital media industry work to fine tune the programmatic market, the issue of ad quality continues to reveal new challenges. This makes sense. “Ad quality” is really an umbrella term, and under that umbrella we find ad security, ad performance, aspects of brand safety, and more. But ad quality is about even more than the ad itself. It’s about content – on the publisher’s page and beyond. Content quality is a deeply significant piece of the perceived quality of an ad, and it needs to be considered more closely and carefully in these conversations.
For the sake of clarity, when we say,
“content quality,” we’re not accusing your editorial team of slacking. We’re
talking about making sure content is classified accurately and specifically, so
fewer off-message ads end up next to that content. And we’re certainly talking
about where the user goes when they click on an ad: What is on that landing
page? Does the content of that landing page send a message that feels
inappropriate or unwelcome, compared to the publisher page they just came from?
Faking it
Another question: Does the ad’s creative
accurately represent the content it leads to? Yes, we’re all familiar with
“fake news.” But the problem of “fake ads” has also spread, more quietly but
widely. These ads may be inconsistent with the publisher’s ad policies. They
may also feature misleading creative.
Sometimes, the creative tells all you need
to know, and the ad is simply the wrong ad for the environment in question. Unfortunately,
though, often the only way you can tell it’s the wrong ad for this environment
is to click through and see where you land. And for the unsuspecting user,
landing on a clearly inappropriate page can wreck user experience.
It is impossible to fully separate the
publisher’s site from the ads on that site, and in turn from any of the landing
pages behind any of those ads. When the user clicks through a seemingly
innocuous ad and is surprised to end up on a highly partisan page, or a page
with adult content, they may close out that site in seconds. However, they will
remember which publisher site they came from. Publishers have a responsibility
to their users to provide positive, relevant experiences, and it’s a liability
to the publisher when an ad links out to a site the publisher shouldn’t be
associated with.
Creative opportunities
But let’s go back to the right ad creative for the right environment. Inappropriate creative can be instantly spotted. And, at this moment in digital, a lot of categories could be considered inappropriate. Political ads are an obvious case. Major digital players, including Netflix, Spotify, and Twitter, are now banning political ads, or at least election ads. The trend is to get ahead of potential brand safety and UX issues by blocking entire ad categories wholesale.
However, when you block, say, all political ads, you likely also end up blocking harmless ads as well. For example, ads about local politics, which could ultimately be more of a service to the user than a source of controversy.
The nuclear option should not be a
publisher’s go-to. Publishers should step back and ask: Are our content categories too broad? Is that inadvertently causing ad
quality issues? When we categorize content, are we representing our brand and
our vision accurately? These are questions publishers can answer, and the answers
will not only help publishers monetize, but enrich the entire programmatic
ecosystem.
Collaboration
This requires collaboration between
publishers and their supply partners. Together, they can clarify and codify
more accurate content verticals for the publisher’s site. Passing keywords to
SSPs and other ad platforms is old hat. We need to go deeper for a couple
reasons.
First, platforms do have an interest in
demonstrating their value to publishers by delivering monetization, and keywords
are only effective if targeting around them is enforced. Second, buyers won’t
always demand an exact match of keywords anyway, if the site is a high-end
premium publisher. They may value certain sites for the publisher’s name and
brand higher than the page’s content itself.
Ad platforms need to recognize that when
they collaborate with publishers to classify content more clearly and
specifically, they open the door to more business for the entire programmatic
market. Brand safety concerns have long been a huge deterrent to brands
increasing their investment in programmatic. Alleviating those concerns will
lead to more programmatic spend, more supply – which in turn makes the platform
more valuable to publishers.
Creative solutions
All stakeholders need to look at and classify
not only the ad creative, but the landing pages. In programmatic, it’s
essential to classify landing pages in real time, before the page renders.
While this may seem technologically daunting, ad quality and security vendors (such
as the company I work for, GeoEdge) have already the groundwork for this kind of
real-time detection of and response to issues in the programmatic market.
For publishers and ad platforms, it will
likely be necessary to introduce more content verticals – more specific content
categories that can be allowed or blocked, for the ad creative and for the content of the landing page.
This will take some effort upfront but will create efficiencies in the long run
that are truly useful on the programmatic level.
In case you missed it, just about everyone has been predicting the death of 3rd-party cookies for almost a year. Now, Apple has closed loopholes with ITP 2.3. Mozilla, Brave, and Chrome have grossly restricted or eliminated the use of cookies. And Google has further committed to eliminating all 3rd-party cookies along with UA parameters within the next two years.
What’s more, the loopholes long used to circumvent these regulations are closing quickly and will likely be almost completely eliminated in the future. Even new ones that pop-up will likely be quickly snuffed out as these practices roll-out throughout the digital ecosystem.
For digital publishers, this raises a lot of questions. Isn’t the personalization provided by 3rd-party cookies better for advertisers? And, isn’t that what is required to maximize the value they are willing to pay publishers?
Revenue concerns
We’ve heard Google recently tout research that says personalized advertisements are more highly-valued than non-personalized contextual ads. That would seem to paint a bleak picture for publishers. However, keep in mind that Google is one of the few parties that can offer scaled first-party data and may be inclined to view this issue with bias.
With that being said, many still wonder that in a world without third-party targeting, how are publishers going to be able to deliver an audience to advertisers that are as valuable as the ones they’ve become used to? And at the end of the day, publishers want to know if they can make as much money as they were before from advertising.
Consider the source
Publishers need to take a step back and look at the premise of all this and ask, “Am I being manipulated by parties in the space to believe that I am going to lose value selling the exact same thing as I am today?”
The big change in the ecosystem will come to the third-party targeting system as a whole—and that’s an advertising system. The system being affected is largely going to be the programmatic one (buying and selling inventory using online systems, like Google Ad Manager). Publishers are simply leveraging the advertiser’s system to sell their inventory in an easy and cost-effective format.
This isn’t to say that publishers get to sit back and relax. In fact, publishers might have to find a new way to market that audience to the advertisers. However, if we look at the shifts in spending for advertisers, there’s no slowdown in digital ad spend. Given that spending is going up and your audience remains the same, publishers should have a fair amount of optimism.
Winners and losers
Google is already using cookieless tracking. The same can be said for many other major ad exchanges and ad networks. The advertising market has continued to grow and the money flows to the eyeballs, no matter what. When those eyeballs are on a TV ad for the Superbowl (obviously without cookies), the money flows there. That revenue is driven by the opportunity for advertisers to reach an audience they know is unique.
For advertisers, this is where they lose a little bit. They will have to work much harder in identifying what makes their audiences unique and where they can put their dollars to ensure they’re still able to capture them. This means trying new systems and methods.
In the realm of programmatic advertising, Google has the largest reach, a hold on the industry’s most effective tools, the most user data, and they’re incumbent at just about every layer of digital user experiences. It’s hard not to see them as the biggest winner in all of this.
Publishers’ position
The vast majority of the internet is potentially going to lose personalized cookie targeting. The good news is that publishers are more important than ever before. Your audience, your data, and the material relationship you have with them are more important than ever. And the value that comes along that is only poised to increase as time passes.
The only thing you should fear, given the death of 3rd-party cookies, are the players that will inevitably come out of the woodwork. They’ll tell you that the upcoming cookie changes are of reason why you need to pivot your strategy, need to leverage this company, or this third-party network, because they have great personal relationships with X network or Y direct advertisers.
Basically, they’ll say: Sell your audience to us and we’ll resell it to advertisers. It’s the only way to save your business. It’s in these players’ best interest to grow their first-party data and they need you to help them. Beware these pitches. Instead, rely on doing a good job of engaging with your audiences and understanding who they are.
My last piece of advice is this: Protect the relationship you have with your audience because it’s only going to get more valuable as time goes on.
We’ve
just returned from our annual summit where a couple hundred senior
executives gather in a closed-door meeting to discuss the most pressing
issues and exciting opportunities that we, as an industry, have before
us. It was my sixth year of having the honor of setting the table to
open the executive summit, after more than a dozen years listening from
the audience.
Everyone in the room is a premium publisher – with the exception of
a handful of supporting sponsors, speakers, and invited guests. The
attendees at the DCN Next: Summit are among the most knowledgeable
people in the business of digital media anywhere. It is a daunting task
to capture the proper sentiment for the direction of our industry at a
gathering of such key leaders. That said, here are the main points from
my kickoff remarks this year.
This new year also marks the start of a new decade, 2020.
2020.
Yes, perfect vision. Optimal focus. As we begin this decade, I believe
that DCN’s members are uniquely positioned. As a group focused on
creating premium content experiences, we have never lost sight of the
importance of our audiences. We’ve remained steadfast in their trust and
our direct relationships.
I see three key facets to this 2020 vision:
First,
we find ourselves rightly renewing our resolution to put the
expectations of our audiences first. To meet, to exceed, their
expectations. To be their trusted ally.
Second, we’ve defeated the myth content has to
be free and finally defined what it means to be premium. It simply
means to have real value worth paying for whether by distributors or
consumers.
Third,
given too many years of platform dominance – in which they have
indiscriminately hidden the real costs to their services and vacuumed up
as much consumer data as possible while, at times abusing trust – we
find ourselves in the best position to align with new user expectations.
To believe that data is the lifeblood of the Internet is to look past
the trust and audience expectations which underpin it now, and in the
future.
Audience first
Unlike
some of those who seek to cravenly capitalize on consumer attention
merely to collect data and target ads, we celebrate an unwavering focus
on the wants, needs, and expectations of our audiences. The experience
across platforms can be rich and elegant. But even more importantly,
digital allows us to use multimedia to tell stories in ever more
engaging ways, better informing the public – something that has never
been more important.
In this case bringing it altogether, I’d like to point to the brilliant Wall Street Journal report
on Google’s ad tech business. It informed a public conversation and
made its way not just across the industry but into meetings of
regulators investigating Google – this is true impact in journalism.
Storytelling at its best
As
technology enables us to better tell our stories, it also becomes more
deeply embedded and entwined with every aspect of our audiences’ lives. The New York Times 1619 Project
was one amazing example featured at a DCN Storytelling Member Day. It
not only brilliantly told the story; it reexamined the legacy of slavery
and made its way into other media – not just audio and video but it
also found its rightful place in classrooms and libraries as educational
material – this is true impact in journalism.
Revenue revived
The past couple of years have been particularly promising around subscription-based and other Direct-to-consumer (DTC) models. While ad vendors chase “DTC”, the latest acronym in their alphabet soup, DCN’s members have always focused on direct, trusted relationships with their audiences.
While concerns have loomed around subscription fatigue, recent DCN research
found the opposite. In fact, consumers aren’t even aware how much they
are spending on subscription products. (DCN’s research shows an average
of $54 per month across 4.3 products). So, it’s clear there’s room for
more! And we now see that younger audiences who grew up in digital are
willing to pay for satisfying experiences. The DCN research backs this
up showing that they see value well beyond their cost.
As
we build our subscription-based offerings, and optimize ad experiences
across platforms, we must keep these audience experiences top of mind.
We serve neither our audiences, nor advertising partners, if we do any
less.
Video views
Our
members – and the industry as a whole – are seeing a hearty appetite
for audio and video content. We see robust revenue around licensing of
our content and IP, which also allows us to impact ever widening
audiences. This is backed up by a renewed effort to preserve copyright
over their art, notably including last year in the EU.
We are also seeing true diversification in our busiess models.
Where
desktop display eroded over the past years, mobile display has offset
it. And other forms of advertising including native, sponsored content
and leads have helped drive growth. Video advertising, where inventory
can be created, continues to carry the highest price and growth in
advertising. And arguably the most important growth of all, we’re
seeing direct audience revenues grow more than 20% per year where
content companies are being paid directly for their content recognizing
its premium value.
UBS
estimates that a combination of 16 media firms will spend $100 billion
to produce content in 2020. In fact, it has been predicted that more
than $35 billion will be spent on streaming video content alone. And
with over 60 media companies among the DCN membership, we know that the
total investment will be much higher. And rightly so. Hulu has been
investing in premium content for its streaming video platform. So is CBS
All Access. Disney+ launched in the last few months with an absolutely gorgeous experience. Peacock will launch in April and then HBO MAX a month later. And those are only a few examples.
Engaging experiences
While
we continue to monitor the power of platforms, their own investment in
content demonstrates that information and entertainment are the
lifeblood of social experiences online. And now the platforms are
starting to pay for it. No
DCN member is surprised that film, television, news, sports and other
topics engage audiences and ignite conversation, debate, and discussion
across platforms.
Be
it delivered on the big screen, small screens, smart speakers, or the
myriad delivery channels in the digital content ecosystem, the work our
members do forms a nexus of cultural impact. We have reached new heights
of digital storytelling. And, undoubtedly our craft, the art of
storytelling, will continue to surprise and delight as its evolution
continues in the decade to come.
And,
while we face challenges like broad-swath and blunt keyword
blacklisting masquerading as “brand safety” and the ease of data-driven
scale, we also see signs that marketers too are shifting their focus to
quality contexts and making genuine customer connections.
Yes,
it is “easier” to pull a series of data-driven levers and reach
purportedly targeted audiences with generic messaging. However, as a
growing number of consumers opt out of advertising and intro tracking
prevention, savvy marketers too are reviving the art of storytelling.
They have a renewed understanding of the power of delivering compelling
messages in trusted, engaging, inspiring environments and an
appreciation for the cost to their brand when it’s associated with
experiences that abuse customers’ expectations. They see that being part
of exceptional experiences creates the kind of cultural resonance and
relevance that a click cannot compare to.
Data diligence
Don’t
get me wrong. Certainly, data is a powerful tool for understanding
audiences. It is also critical for storytelling and we see it leveraged
in stunning executions to create vivid narratives built on numbers.
But
user expectations around data collection and use are of critical
concern. With increasing consumer awareness around data practices online
and looming enforcement when they’re abused, we must continue to focus
in on what’s best for our audiences and only then for our marketing
partners. The ability to micro-target, to force an action with a digital
ad is not the same as engaging audiences around trusted content. It is not the way to build long-term customer relationships.
Fans and friction
It
up to us to keep our customer focus razor sharp as we embark on this
2020 vision. We need to minimize complexity and reduce friction while
continuing to innovate and enhance experiences for our audiences.
Certainly, challenges abound including news deserts impacting local
communities, anti-press rhetoric from none other than our own President which sends dangerous signals globally, and continued platform competition and unequitable marketplace control now under investigation by Congress, FTC, DOJ, states, the EU among others.
I’m feeling good this year about where things are headed. I’m feeling really good. And I’m thrilled at the programming lineup we assembled for our annual summit to talk about it.
What
I’ve seen in my time in digital, particularly the years I’ve been
fortunate enough to spend on the team at DCN, has taught me is that we
are at the forefront of something great here. We are on the frontlines
of storytelling and communication. We have the power to shape minds, to
touch hearts, to fill the world with laughter and tears. Here’s to 2020
bringing the roar of the crowd as we focus on what matters most: the
audiences we serve.
Last week, at the DCN Next: Summit, Scott Galloway who is a professor at the NYU Stern School of Business and Author of ”The Four“ and ”The Algebra of Happiness” had a lively conversation with Reuters Breakingviews columnist, Jennifer Saba. DCN’s annual Summit is a closed-door members-only event. However, Saba and Galloway have graciously agreed to allow us to share this session publicly.
Their conversation covers a wide range of topics, in particular antitrust – specifically as it relates to big tech. As Galloway said, historically, “A key step to tyranny [has been] the government being co-opted as opposed to being a countervailing force to corporate power.”
To do its job, “effectively, government has to be bigger and badder than any individual or company – and it isn’t any more.” Amazon now has over 100 full time lobbyists “educating our elected officials … about why they’re not a monopoly.” He points out that “We are in a very dangerous situation in which private power is going unchecked” and in which government resources to regulate growing monopolies is declining while these organizations’ investment in lobbying is their largest area of expenditure growth.
Their discussion also looks at government efforts (largely ineffectual) to rein in the power of big tech as well as to penalize them for their negligence, privacy breaches, role in the spread of misinformation and election interference. They also uncover the source of Galloway’s prescience in predicting the location of Amazon’s HQ2 and he makes some new predictions about shifts in Amazon’s business model.
Watch the full Jen Saba interview with Scott Galloway:
Breakingviews columnist, Jennifer Saba interviews professor and author Scott Galloway at the annual DCN:Next Summit
There’s a blackhole in the video game universe. A massive, bare chest Jeff Goldblum is lounging on a London lawn near a bridge. And the golden arches have inverted.
Surely some sort of revelation is at hand!
Oh no wait: It’s just brands going viral.
Inspired by Fortnite’s bold strategy of taking the massively popular game offline for nearly two days to tee up the release of a new virtual world, we decided to investigate several so-called “publicity stunts” to see which ones were the most impactful in generating reader engagement.
To do this, we checked how these campaigns impacted readership about the companies on the Taboola network of news publishers. We’ve seen that successful marketing can often generate significant news coverage and create a viral effect.
Taboola’s data include readership of more than 1,300 US news websites including national, local, and digital-native organizations. The scope of the network offers a broad view of what’s capturing people’s attention.
With that in mind, let’s see which stunts sparked the biggest spikes.
The Fortnite black hole
Fortnite has become one of the rare titles of this generation to transcend gaming to become a cultural phenomenon. Its player base has expanded into the hundreds of millions over the past two years.
Naturally, people totally freaked out when the game’s universe was sucked into a black hole leaving behind only a dark screen and a cryptic string of numbers.
“It then, to the internet’s collective shock, stayed that way. Confused players joined forces to decode mysterious numbers, play a hidden minigame, entertain themselves with speculation, and spend more than 35 hours staring at what basically amounts to a screensaver.”
Haven't been keeping up with Fortnite? Well, good news, you haven't missed much—except, oh right, the whole game is a black hole now? It's probably fine. pic.twitter.com/zzwqQW5yYl
It didn’t take long for people to realize that this was the game’s way of teasing the beginning of a new season and the introduction of a new world for players to shoot to control.
In the meantime, millions of people read news articles about the phenomenon. We saw readership spike more than 10x above its daily average.
International house of what now?
Who doesn’t love IHOP? The food is decadent. The blue roof is iconic. And “Rooty Tooty Fresh ‘N Fruity” is honestly one of the all-time great names for a menu item.
You could invert three of the letters in IHOP and not a thing would change. But when the company inverted that fourth letter, a great mystery ensued.
IHOP is changing its name to IHOB and while people think it stands for “breakfast” I’m putting my money on BETRAYAL
After several days of anticipation, “IHOb” revealed the b stands for burgers because, yes, they also serve burgers. A month later, IHOP admitted the supposed name change was a gimmick all along.
Readers seemed to find the gag palatable. Traffic spiked like an 8-year-old’s energy level after eating IHOP pancakes with blueberry syrup.
WcDonald’s
IHOP isn’t the only food chain to cause a stir by inverting its branding. A McDonald’s in California flipped the golden arches in honor of International Women’s Day and the company changed its logo on its social media channels to match.
McDonald’s said this gesture was meant to recognize “the extraordinary accomplishments of women everywhere and especially in our restaurants.”
(Credit: McDonald’s)
We saw increased readership about McDonald’s related to this move. But it was not necessarily a triumph of publicity. The gesture received harsh backlash as people criticized the company for the wages it pays its workers.
Payless pranks influencers
Fashion influencers flocked to Palessi’s popup shop in Santa Monica, California, to sip champagne and try on shoes listed for up to $1,800. The line to get in extended well out the door. Photos were posted to Instagram.
No one suspected the supposed luxury kicks normally sell for as low as $20 until discount retailer Payless ShoeSource revealed it was behind the entire production.
Well played, Payless.
The farce earned a big bump in readership for the company. Unfortunately, the spike was overshadowed a few months later by the news that Payless was imminently closing all of its US locations.
The electric car company was able to pull off this extraterrestrial feat because of its association with SpaceX (since Elon Musk founded both companies).
So when SpaceX needed to show off the capabilities of its Falcon Heavy rocket during a 2018 launch, it brought along the Tesla as the payload to add some extra flare to the event.
How epic was this stunt? Business Insider’s Mark Matousek wrote, “Tesla created the world’s best car commercial without spending a dime on advertising.”
Both companies saw significant bumps in readership around this event.
Pizza and potholes
Most of us likely have experienced the utter disappointment of receiving a pizza from a delivery person, only to open the box and see a pie that looks like it’s reached us via a carnival ride.
Domino’s created its “Paving for Pizza” campaign aimed, perhaps symbolically, to address this issue by fixing potholes in towns across the US. In theory, this would create a smoother ride for their delivery people.
A road condition meter on the website promoting the campaign shows the supposed carnage various degrees of road disrepair wreak on pizza.
This campaign did not see the same type of traffic spike as the others. When it launched in June 2018, there were a number of stories that caused a small bump in activity as indicated by the red arrow in the chart below.
It’s possible this campaign had more of a slow burn effect though. It seemed to create increasing buzz at the local level as it expanded to new towns.
And despite the lack of readership at launch, there were a number of positives. PRWeek highlighted the campaign’s success on social media. It also covered the sheer number of requests the company received from towns that wanted to be part of the program, which included over 15,000 zip codes.
Sex sells, but at what cost?
Your scientists marketers were so preoccupied with whether or not they could, they didn’t stop to think if they should.
If the advertising maxim “sex sells” is true, then this one might be the new gold(blum) standard. See for yourself.
25-foot Jeff Goldblum statue pops up in London, England, recreating the actor's famous bare chest pose from "Jurassic Park" in honor of the film's 25th anniversary. https://t.co/3sTSdzw5Uapic.twitter.com/DQlGYRhVGc
The British streaming platform Now TV was behind this monumental stunt.
Unlike the other companies we’ve discussed so far, we didn’t actually see a spike for now Now TV when measuring readership in the UK. Taboola’s semantic AI looks for terms in headlines and the first few paragraphs of a story to categorize them into topics. Since Jeff Goldblum is such a big star, most of the story headlines about the statue gave him top billing and mentioned that it was organized by Now TV deeper in the stories.
With this in mind, we also looked at news stories about Jeff Goldblum and did find a bump in readership when the statue first appeared. As you can see below, it wasn’t the biggest Jeff Goldblum news of the past two years. That honor went to the revelation that Goldblum, Laura Dern and Sam Neill would all appear in the next “Jurassic World.”
The competition is fierce for the attention of readers and customers.
The stunts that not only successfully garnered “earned” media for brands but also significant audiences for those media sites can be categorized into three themes: providing a public service or pushing for social good (Domino’s/McDonalds), generating intrigue (Fortnite/IHOP/Payless), or creating a spectacle (Tesla/NowTV).
The successful stunts for brands were the ones that best aligned with their public image. A lighthearted brand like IHOP with playfully named menu items can get away with shenanigans if it’s all in good fun. While Tesla and SpaceX, both known for being on the cutting-edge of technology, took those reputations to the next level with the space car stunt.
Journalists have the important responsibility of giving readers context about these stunts and holding brands accountable when their plays for attention miss the mark. However, when done right, these stunts not only deliver significant PR, they drive interest and traffic for media companies as well.
Note: Taboola’s news publisher partners have access to data on trending topics in the Topic Insights part of Newsroom, a real-time audience analytics platform. There’s also a publicly available version of Topic Insights on the Taboola Trends page.
Taboola is always looking for interesting ways to use data to help bring context to how news readers are interacting with real-world events such as measuring which presidential candidates are getting the most attention and measuring the huge impact of a coordinated media effort to increase climate change coverage. Please DM @franberkman on Twitter if you’re doing any research or reporting that you think this type of data could help support.
The year 2020 will be a tipping point year for media companies. This is the year in which journalists must fight the battle for truth, according to Maria Ressa, CEO of Rappler, a digital news organization based in Manila, the Philippines.
“What we do this year – not just in the Philippines, but all around the world and especially in the United States – will determine whether or not the whole world walks into a cycle of fascism. We’ve been here before. What we do now matters.”
Ressa – who has been the target of persecution in her country – offered these comments as part of a recorded statement presented to attendees of DCN Next: Summit at the Mandarin Oriental hotel in Miami, Florida on January 15.
In her statement, Ressa expressed gratitude to DCN CEO Jason Kint, the DCN Board of Directors, and the members of DCN for supporting her cause and helping her to “shine the light” through journalistic endeavors.
“That really is the only weapon that journalists have,” noted Ressa. “What we’ve lived through in the Philippines…our dystopian present is your dystopian future. This is it, the battle for truth.”
The DCN Board of Directors issued a statement (included below) supporting House and Senate Resolutions calling on Philippine President Rodrigo Duterte to end his political persecution of Ressa and Senator Leila de Lima.
“Healthy democracies thrive with vigorous political discourse and a free, independent press,” noted the statement.
On, the question of whether there exists a line between journalism and activism, Ressa said that “in the battle of truth, journalism becomes activism. This is a hard-fought lesson we have learned in the Philippines.”
Popular populist authoritarian-style leaders are getting elected throughout the world. “Just like they had a dictator’s playbook, they lie,” she said. “A lie told a million times becomes a fact. Without facts, you can’t have truth. Without truth, you can’t have trust. Without all three, democracy as we know it is dead.”
Ressa referenced her own experience when in 2018, the Philippine government investigated Rappler in at least 11 cases. “In 2019, I was arrested…not once, but twice,” she said. “I posted bail eight times.”
Ressa – who in 2018 was named by Time magazine as one of several journalists honored as Persons of the Year – spoke of her experiences at the 2019 DCN Summit in Orlando, Florida – just before one of her arrests. She also made the 2019 TIME 100 List as one of the most year’s most influential people.
The relevance of her travails extends to journalists everywhere. Because, as she said, the “the enabler for all of this is technology. And technology is in the hands of American social media companies,” said Ressler.
“Facebook is our internet” she said. “Where Facebook goes, the Philippines goes. The weaponization of social media was followed by the weaponization of the law. This is what’s happened to the gatekeepers, right? And when the gatekeepers move from the journalists to technologists… lies spread faster than facts.”
Official Statement from the DCN Board of Directors
“We
applaud Senators Edward Markey and Marco Rubio along with Senators Marsha
Blackburn, Christopher Coons and Richard Durbin who introduced Senate
Resolution 142. We also applaud Representative Jackie Speier along with
Representatives Henry Johnson, Jamie Raskin, Brad Sherman and Lloyd Doggett who
introduced House Resolution 233.
Both resolutions call on Philippine President Rodrigo Duterte to end his political persecution of Senator Leila de Lima and journalist Maria Ressa, founder and CEO of Rappler, a digital news organization based in Manila. Healthy democracies thrive with vigorous political discourse and a free, independent press.” —DCN Board of Directors
To reinforce our support of a free press everywhere, DCN is pleased to share the video of Ressa’s statement:
From the boom of direct-to-consumer (DTC) brands to the introduction of new OTT streaming services such as Disney+, 2019 brought significant innovation to the digital media space. As we begin 2020, it’s time to think about which media trends will shake up the new year. Here’s what the MediaRadar team sees on the horizon.
The year of paradox for linear TV
In 2019, it was estimated that 6.4 million paid subscribers stopped paying for television. In 2020, as OTT streaming services continue to gain control, an almost equal, incremental decline in number of paid subscribers is predicted. However, despite “cord-cutting” in the TV industry, linear cable and broadcasters are poised to have a successful year. This is due in part to several major TV events set to occur throughout 2020.
The 2020 presidential election will have politicians spending significant amounts of ad dollars to get their messages across. Some estimate that spending will approach as much as $10 billion – or almost $6 billion more than the 2010 election. Advertisers are also predicted to allocate heavy ad spend towards the Tokyo Summer Olympics, as well as other large tent-pole sporting events like the Super Bowl. This year’s Super Bowl is expected to deliver strong financial results, as Fox reported in early December 2019. In fact, 80% of the inventory had already sold at a reported $5.6 million per 30 seconds. That marks a 7% jump from last year.
Amidst the evolving TV landscape, providing viewers with
real innovation will become crucial for success. Keeping that in mind, in 2020,
it’s believed that nearly all major broadcasters will either reboot or unveil
their paid streaming businesses. While this is just the start, this shows
broadcasters are committed to re-engaging with their audiences and future
proofing subscribers.
Politics’ role in digital media
An exploding ad spend isn’t the only way the presidential
election will shape the industry this year. The election is expected to take
over much of the news cycle and political ads. Every platform will be
scrutinized for accuracy more than ever before. Ahead of the election, digital
ad companies are expected to face strong public pressure to ensure their
political ad policies are tightly “buttoned up.”
Twitter recently announced they will be opting out of politics, disallowing political ads entirely. Google announced that they are restricting targeting capabilities for political ads and Facebook is predicted to follow suit, despite pressures to go further.
Based on these companies’ decisions, it’s likely that other
media will feel the same pressures in 2020. It will be up to these companies’
leadership to navigate this evolving digital landscape during the election
cycle. Foremost: an emphasis on clear and ethical business decisions.
OTT remains hot
Over the past few years, investment in the OTT space has been heavy and rapid. It shows no signs of slowing down in 2020. UBS estimates a combination of 16 media firms will spend $100 billion to produce content in 2020. Of that $100 billion, just three firms – Netflix, Disney and WarnerMedia – are projected to account for 25%, producing unique content for their viewers.
For the financial health of the companies competing in the space, it’s likely that this investment cannot last long-term. Bob Iger, Chairman and CEO of The Walt Disney Company, has acknowledged that Disney+ will probably not break even for at least the first five years. Meanwhile, AT&T has said the same of upcoming streaming platform, HBO Max.
Eventually, it’s predicted that end user prices will rise,
ad-supported models will become more common – SVOD versus AVOD – and spend on
content will decrease to ensure profitability. Being in the early days of the
streaming wars, however, the major players are willing to gamble with losses
now to gain profits later. In the fight to capture the attention, and monthly
payments of consumers around the world, and to make the investment worth it,
not all can win.
2020 outlook
2020 looks to be both an exciting and transformative year
for digital media. The TV industry will shift focus as they seek to re-engage
with audiences through paid streaming businesses and offerings. Major TV
events, specifically the 2020 presidential election and flagship sporting
events, will help sustain linear cable and broadcasters through the year.
Investment in OTT is only expected to increase, especially as “cord cutting”
continues.
Perhaps the biggest change in 2020, though, will be as a
result of the state of politics. With politics playing a larger role in the
space than ever before, media companies will begin adjusting their strategies
and policies accordingly – a change that could have a lasting impact on the
future.
