The Big Impression

Connected TV is no longer just a buzzword in the ad world — it’s where the industry is being reinvented. Audiences aren’t just watching differently; they’re shopping, engaging, and co-viewing in ways that open new creative doors for brands. And sitting at the intersection of entertainment and advertising is Roku, a company that’s helping marketers meet these shifts head-on.In this episode of The Big Impression, Roku’s VP of advertising, marketing & measurement, Sarah Harms, explains why the company is uniquely positioned as a publisher and an operating system. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're talking about how streaming and connected TV are transforming not just how we watch, but how brands connect with audiences.Damian Fowler (00:17):Our guest is Sarah Harms vice president of advertising, marketing and measurement at Roku. She leads the strategy behind Roku's advertising business, helping brands tap into streaming's growing audience while building smarter measurement tools along the way.Ilyse Liffreing (00:32):Before Roku, Sarah built her expertise across both the buy and sell sides of the industry with leadership roles at Microsoft XR and wpp giving her a unique perspective on how ad tech data and storytelling all come together on Connected tv.Damian Fowler (00:49):We'll talk about how Roku's helping brands of all scientists meet new viewer behaviors, build more effective campaigns, and push the creative boundaries of what's possible on CTV.Ilyse Liffreing (01:00):So let's get into it.Damian Fowler (01:03):So Sarah Roku is in a pretty unique spot right now, right? Between entertainment and ads with this latest brand or measurement move, what got it started? Was there an insight or audience need that really stood out to you?Sarah Harms (01:17):Yeah, so in my role I run ad marketing and measurement. So much of my job is us as a marketer, so marketing roku's, advertising proposition, but also in support of our marketers. And so that makes my job very fun. And so a lot of this conversation today, I'm going to go back and forth between my job as a marketer, but also my job in B2B advertising of driving marketers results on our platform. Something that's really fun about Roku is that we're a publisher, but we're also the largest operating system in the us. We see consumers come through our front door to get to the content they know and love and care about. And so that gives us a really rich canvas for supporting some of our marketers initiatives. And so for example, the Super Bowl was very fun for us, whether it was using our platform to drive traffic to Tuby or to build really fun brand experiences on our canvases.(02:13):So we had, when Sally met Hellman's and we had Hellman's and Roku City and we had the Super Bowl ad and a really lovely zone destination to drive shopping and drive purchases of Hellman's mayonnaise, which you really wouldn't expect from a television advertising experience. And so I think that was a fun one from us in supportive marketers. And then a whole part of my job is making sure our advertisers really know about the Roku experience. And so while it's B2B, it would be silly not to address them in a B2C capacity because our marketers could also be customers, the need to understand the value of the Roku experience even if they don't have a televisionDamian Fowler (02:53):From ro. Once you realize your customers could be businesses, consumers, or both, how did that shift your strategy? Did it change the way you approach things?Sarah Harms (03:01):I think it's just strategic use of our resources and a strategic use of our messaging. We certainly think the Roku experience as an operating system is delightful and easy and intuitive. We talk about how your mother-in-law can set it up herself as the example we always use. And so we certainly want our advertising customers to know that too because it really is a beautiful, elegant experience for advertising as well, for watching content.Ilyse Liffreing (03:28):So you've got such a big range of advertisers from big Fortune five hundreds to D two C brands to B2B. How do you build campaigns or measurements that flex for either of them but still stay true to your own approach?Sarah Harms (03:44):Great. So I'll address that as a speaking to the advertising community part of my job, we certainly are on a journey to evolve our strategy to be more flexible and meet our customers where they want us to be, whether it being in their buying platforms of choice or providing optionality to a D two C customer by giving them a very lightweight, intuitive self-service platform like Roku Ads Manager. And so I think a lot of it from a measurement standpoint is doing some education. I think some of the questions were ground around CTV is still somewhat new, but I don't know if it's new, but it's certainly new in the eyes of performance. And so it's a lot of education about how we can enable customers to drive true outcomes using connected television. And so whether it's ad manager or unique measurement integrations, shoppable formats, we really try to address all of thatIlyse Liffreing (04:36):Now. Streaming's completely changed how people watch from binging to co-viewing and basically everything in between. How do cultural or data trends help shape what you're doing on the platform?Sarah Harms (04:48):Yeah, I mean it's been so interesting to see it change even since the pandemic. I think for a long time CTV was synonymous with SVOD or subscription video on demand. We're very much seen that is not the case anymore. A majority of our households are using some form of A VOD, we're advertising video on demand. And so that trend coupled with live sports coming into CTV and streaming, it's really just driven a whole new slew of opportunities for advertising. And so off the back of that, that's more addressable, more accountable television because it is connected television. And so that's been fun from a education standpoint, it's been fun from a how do we enable our platform to address that and also how do we educate our customers from a measurement standpoint.Damian Fowler (05:37):So what's the ad experience like on Roku? You mentioned CTV and it sounds like there's a pretty wide mix of formats. Can you break that down a little more?Sarah Harms (05:46):I'd love to because I think that's again, where my role as a B2B marketer, it's of course helpful to inform our clients about our experiences then they might not have a Roku device or television. And so we think about our business in really two core buckets. We have the Roku experiences, which is our beautiful ui, so native home screen units, they're customized, they're elegant, and we have some of our more kind of viral experiences like Roku City, which is fun and delightful. We're now doing brand integrations there. But then on the other side, we're also a very scaled publisher. So the Roku channel continues to climb Nielsen's Gauge in terms of total TV content time. And so that is allowing us to be a very kind of open interoperable, performant publisher as well with standard video that's available programmatically. It's available with unique measurement integrations, and that's really our ecosystem being an interoperable partner in the space.Ilyse Liffreing (06:43):Roku City is that fun, animated screensaver, very purple that a lot of people see on their TVs. Can you tell us a little bit about it and the kinds of brands you're partnering with there?Sarah Harms (06:54):Yeah, so this has just been something really fun that's taken off. So Roku City is our interactive screensaver and people love it. I don't know if you see it every day, but it's cute, it's fun, it grabs your attention. We see that it's tweeted about every 12 minutes, so it is a viral experience and so much so that really our advertisers challenged us to think about it differently. And so now we have really a variety of advertisers coming into Roku City. So I gave the Hellman's example. We had Taylor Swift in Roku City. And so it's really just a fun, unique, totally differentiated advertising experience, but we tie it all to the rest of our assets.Damian Fowler (07:36):I heard somebody say this morning, performance media is kind of the baseline. Now with that in mind, how do you think about measuring engagement across all these different touch points that we've been talking about?Sarah Harms (07:46):Yeah, I mean, so much of my job on the measurement side of the house is education. And I think the challenge is that performance is in the eye of the beholder and CTV is still bought via a very different group of personas from a legacy television buyer all the way to someone that had been in social API partners and dipping their toe into CTV. And so performance is required, but it's really a matter of educating them on what that means to them and supporting them in their efforts. But what's great about CTV is its big beautiful television, but with all the addressability and accountability of digital.Damian Fowler (08:23):And on that point though, what is it that linear TV buyers still don't quite get about CTV?Sarah Harms (08:29):I think it's the ecosystem aspect of it all. I think television in the past was measured by a couple companies with a couple KPIs or just reach. And so I think this is where CTV has really unlocked really turnkey, always on easy to optimize measurement. That's very exciting.Ilyse Liffreing (08:48):So one thing we like to do on the show is pull our takeaways from the big campaigns. Are there any KPIs or success stories from the campaigns running on Roku that stand out to you?Sarah Harms (09:00):Yeah, so I think what's been fun is we see that we have opportunities for

Cookies are out, context is in. People Inc.’s Jonathan Roberts joins The Big Impression to talk about how America’s biggest publisher is using AI to reinvent contextual advertising with real-time intent.From Game of Thrones maps to the open web, Roberts believes content is king in the AI economy. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler, and welcome to this edition of The Big Impression. Today we're looking at how publishers are using AI to reinvent contextual advertising and why it's becoming an important and powerful alternative to identity-based targeting. My guest is Jonathan Roberts, chief Innovation Officer at People Inc. America's largest publisher, formerly known as Meredith. He's leading the charge with decipher an AI platform that helps advertisers reach audiences based on real time intent across all of People Inc. Site and the Open Web. We're going to break down how it works, what it means for advertisers in a privacy first world and why Jonathan's side hustle. Creating maps for Game of Thrones has something for teachers about building smarter ad tech. So let's get into it. One note, this episode was recorded before the company changed its name. After the Meredith merger, you had some challenges getting the business going again. What made you realize that sort of rethinking targeting with decipher could be the way to go?Jonathan Roberts (01:17):We had a really strong belief and always have had a strong belief in the power of great content and also great content that helps people do things. Notably and Meredith are both in the olden times, you would call them service journalism. They help people do things, they inspire people. It's not news, it's not sports. If you go to Better Homes and Gardens to understand how to refresh your living room for spring, you're going to go into purchase a lot of stuff for your living room. If you're planting seeds for a great garden, you're also going to buy garden furniture. If you're going to health.com, you're there because you're managing a condition. If you're going to all recipes, you're shopping for dinner. These are all places where the publisher and the content is a critical path on the purchase to doing something like an economically valuable something. And so putting these two businesses together to build the largest publisher in the US and one of the largest in the world was a real privilege. All combinations are hard. When we acquired Meredith, it is a big, big business. We became the largest print publisher overnight.(02:23):What we see now, because we've been growing strongly for many, many quarters, and that growth is continuing, we're public. You can see our numbers, the performance is there, the premium is there, and you can always sell anything once. The trick is will people renew when they come back? And now we're in a world where our advertising revenue, which is the majority of our digital revenue, is stable and growing, deeply reliable and just really large. And we underpin that with decipher. Decipher simply is a belief that what you're reading right now tells a lot more about who you are and what you are going to do than a cookie signal, which is two days late and not relevant. What you did yesterday is less relevant to what you need to do than what you're doing right now. And so using content as a real time predictive signal is very, very performant. It's a hundred percent addressable, right? Everyone's reading content when we target to, they're on our content and we guaranteed it would outperform cookies, and we run a huge amount of ad revenue and we've never had to pay it in a guarantee.Damian Fowler (03:34):It's interesting that you're talking about contextual, but you're talking about contextual in real time, which seems to be the difference. I mean, because some people hear contextually, they go, oh, well, that's what you used to do, place an ad next to a piece of content in the garden supplement or the lifestyle supplement, but this is different.Jonathan Roberts (03:53):Yes. Yeah. I mean, ensemble say it's 2001 called and once it's at Targeting strategy back, but all things are new again, and I think they're newly fresh and newly relevant, newly accurate because it can do things now that we were never able to do before. So one of the huge strengths of Meredith as a platform is because we own People magazine, we dominate entertainment, we have better homes and gardens and spruce, we really cover home. We have all recipes. We literally have all the recipes plus cereal, seeds plus food and wine. So we cover food. We also do tech, travel, finance and health, and you could run those as a hazard brands, and they're all great in their own, but there's no network effect. What we discovered was because I know we have a pet site and we also have real simple, and we know that if you are getting a puppy or you have an aging dog, which we know from the pet site, we know you massively over index for interest in cleaning products and cleaning ideas on real simple, right?Damian Fowler (04:55):Yeah.Jonathan Roberts (04:55):This doesn't seem like a shocking conclusion to have, but the fact that we have both tells us both, which also means that if you take a health site where we're helping people with their chronic conditions, we can see all the signals of exactly what help you need with your diet. Huge overlaps. So we have all the recipe content and we know exactly how that cross correlates with chronic conditions. We also know how those health conditions correlate into skincare because we have Brody, which deals with makeup and beauty, but also all the skincare conditions and finance, right? Health is a financial situation as much as it is a health situation, particularly in the us. And so by tying these together, because most of these situations are whole lifestyle questions, we can understand that if you're thinking about planning a cruise in the Mediterranean, you're a good target for Vanguard to market mutual funds to. Whereas if we didn't have both investipedia and travel leisure, we couldn't do that. And so there's nothing on that cruise page, on the page in the words that allows you to do keyword targeting for mutual funds.(05:55):But we're using the fact that we know that cruise is a predictor of a mutual fund purchase so that we can actually market to anyone in market per cruise. We know they've got disposable income, they're likely low risk, long-term buy andhold investors with value investing needs. And we know that because we have these assets now, we have about 1500 different topics that we track across all of DDM across 1.5 million articles, tens of millions of visits a day, billions a year. If you just look at the possible correlations between any of those taxonomies that's over a million, or if we go a level deeper, over a hundred million connected data points, you can score. We've scored all of them with billions of visits, and so we have that full map of all consumers.Damian Fowler (06:42):I wanted to ask you, of course, and you always get this question I'm sure, but you have a pretty unusual background for ad tech theoretical physics as you mentioned, and researcher at CERN and Mapmaker as well for Game of Thrones, but this isn't standard publisher experience, but how did all that scientific background play into the way you approached building this innovation?Jonathan Roberts (07:03):Yeah, I think when I first joined the company, which was a long time ago now, and one of the original bits of this company was about.com, one of the internet oh 0.1 OG sites, and there was daily data on human interest going back to January 1st, 2000 across over a thousand different topics. And in that case, tens of millions of articles. And the team said, is this useful? Is there anything here that's interesting? I was like, oh my god, you don't know what you've got because if you treat as a physicist coming in, I looked at this and was like, this is a, it's like a telescope recording all of human interest. Each piece of content is like a single pixel of your telescope. And so if somebody comes and visit, you're like, oh, I'm recording the interest of this person in this topic, and you've got this incredibly fine grained understanding of the world because you've got all these people coming to us telling us what they want every day.(08:05):If I'm a classic news publisher, I look at my data and I find out what headlines I broke, I look at my data and I learn more about my own editorial strategy than I do about the world. We do not as much tell the world what to think about. The world tells us what they care about. And so that if you treat that as just a pure experimental framework where this incredible lens into an understanding of the world, lots of things are very stable. Many questions that people ask, they always ask, but you understand why do they ask them today? What's causing the to what are the correlations between what they are understanding around our finance business through the financial crash, our health business, I ran directly through COVID. So you see this kind of real time change of the world reacting to big shocks and it allows you to predict what comes next, right? Data's lovely, but unless you can do something with it, it's useless.Damian Fowler (08:59):It's interesting to hear you talk about that consistency, the sort of predictability in some ways of, I guess intense signals or should we just say human behavior, but now we've got AI further, deeper into the mix.Jonathan Roberts (09:13):So we were the first US publisher to do a deal with open ai, and that comes in three parts. They paid for training on our content. They also agreed within the contract to source and cite our content when it was used. And the third part, the particularly interesting part, is co-development of new things. So we've been involved with them as they'v

Spotify’s Brian Berner joins The Big Impression to talk about how brands are looking for speed, flexibility and smarter ways to connect with audiences.    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Taylor Swift and Travis Kelce’s relationship was still only a fresh rumor in 2023, when State Farm brought together Travis’ mother, Donna Kelce, and Jake from State Farm at an NFL game.On a new episode of The Big Impression, State Farm’s Patty Morris dives into how the company quickly capitalized on the opportunity despite being risk-averse.  Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing,Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're diving into one of the most buzzworthy brand moments in recent memory when Jake from State Farm crashed the Taylor Swift NFL multiverse in a way only he could.Damian Fowler (00:20):Our guest is Patty Morris, head of brand at State Farm. Patty and her team turned a viral cultural moment into a strategic marketing win from the sidelines of an NFL game to the front lines of CTV social and beyond.Ilyse Liffreing (00:34):We're talking about that famous seat swap with Mama Kelsey, and then digging into why Jake keeps showing up in all the right places and how State Farm is rewriting the playbook on building a culturally fluent brand.Damian Fowler (00:47):So let's get into it. We're going to go back to the fall of 2023 when Taylor Swift shows up at a chiefs game and sits next to Mama Kelsey and days later, Jake from State Farm's. In that seat, could you take us behind the scenes and how the idea came together so quickly?Patty Morris (01:07):Okay. Well first let me just back us up a little bit. Okay. State Farm is 103 year old, brand 103, so we have certain ways of doing things,Ilyse Liffreing (01:19):A lot of legacy there right?Patty Morris (01:19):Yes. A lot of legacy we, I think, have been successful as marketers and done a lot of great things over the decades, but we have a way of doing things and you can imagine we're an insurance company, we're risk averse, all of those things. I would just say knowing that context, how do you get from that to an agency calling you on a Friday night and saying, we have this big idea and we think you need to execute it, and it's in about 40 hours. And also it's on probably one of the biggest stages there is, and you say yes to that of course, but how do you get from A to BI think is your question. How did you make that happen? And I would just say a couple of things. One, you have to set the right conditions so that you are part of the cultural Lex Conna in a way that those opportunities come to you. And I think we had done that over time with Jake from State Farm, being really methodical about that and getting him out there in a way that people want to see him and in a way that is a best representation of our brand and allows us to be in cultural places that we otherwise couldn't without that physical brand asset.Damian Fowler (02:30):I mean, everyone obviously wanted to be part of that moment, and it's interesting that you bring up the fact that State Farm is risk averse, and yet you made it in it into that moment. Why was your connection to the Kelsey family and Jake's cultural capital so critical to making it land?Patty Morris (02:47):Yeah, I mean, I think the other context in the background around a moment like that is we've spent a long time over a decade really working to be endemic in the football landscape. Whether it was our longstanding campaign with Aaron Rogers and now Patrick Mahomes, we had brought Travis Kelsey into our football creative for the season and he was part of that work. If you remember, the Mahomes and Otto commercial was the best bundle in the league.Damian Fowler (03:15):Oh yeah, yeah, I do remember.Patty Morris (03:16):So we had all of those things working together, plus all the work we had done to make Jake from State Farm who he is, and you get this lightning moment where you have the right to be there because you have Jake and people love him, and he's a physical manifestation of an intangible product that you can put in these environments. We've built a brand that's endemic in football and is recognized in that space and just I think hats off to the creative mindset at maximum effort for calling us and saying, we think this could be a really great joyful cultural moment. And not many people could go sit in that seat next to Mama Kelsey the week after, but we think fans will love this and risk averse or not. When you hear an idea like that and you are able to put your brand in a position like that, you say yes. And if there's anybody that understands maximizing a cultural moment and doing it in the right way, I think it's maximum effort. So you trust them in that moment to do that with you. And man, we did it very quickly.Ilyse Liffreing (04:23):Very cool. Yeah, no, I know. I was just going to say it was very fast. The timing was impeccable.Patty Morris (04:30):Yeah, I think a week later it wouldn't haveIlyse Liffreing (04:32):Landed. No,Patty Morris (04:33):I agree. It had to be that weekend and just the next cultural beat right after that, and I think it really surprised people and added value to what they were seeing and during the game and just a really joyful way.Ilyse Liffreing (04:46):How quickly did it come together after the idea came into,Patty Morris (04:50):They called us on a Friday night and after a long week, a busy week said, Hey, we have this idea, but we have to make it happen on Sunday, or we don't think it'll work. And we said, we agree, but oh my gosh, how are we going to make this happen by Sunday? And so of course their next call is Jake from State Farm, are you busy? Can you be there? Can you get to New York overnight? Basically. And the actor that plays Jake, Kevin Miles is such a great partner,(05:21):He gets that call and says, what's the idea? And we tell him and he is like, well, we have to do it, we have to do that. We think so too. And he's like, then yes, I'll get there. I'll be there. So Friday night to, I can't remember what time the game was on Sunday, but wow, it was very fast and we're not used to moving that fast. That was an effort for us, but a really important moment. And I think in tipping point where we started to build some muscle around being able to capitalize on those kind of moments.Ilyse Liffreing (05:50):How long would you say campaigns usually take to come together toPatty Morris (05:54):PrepareIlyse Liffreing (05:54):A little bit?Patty Morris (05:55):It depends, right? It depends. Sometimes you plan something out and you're building something big. You do that really methodically and strategically, and it takes a while. Sometimes you're doing something that is a smaller scale and you can do that faster. But these types of things are really, we call 'em lightning in a bottle moment when it has to be, the specific parameters have to be exactly right. The stars have to align, and you have to be able to do that quickly. And so we try to work with our teams to be doing the long-term things, but also have the capacity to be able to turn and burn on a great idea when we see it. And I think that's why we've been able to hop into these cultural moments and punch above our weight as a brand because they're not paid moments, they're cultural moments that get a lot of earned attention, and that can be really powerful. Very cool.Damian Fowler (06:44):So beyond that moment, then you've got that, you capture that lining moment, then what do you do and how do you make it, you channel the cultural impact of that moment across the different channels going forward to maximize it?Patty Morris (07:00):First thing you do is celebrate, right? You took a risk and it landed and it paid off. And it's important to celebrate that because it can be really scary, right? I'm sure we've got this really precious, iconic brand in our hands. We've got this really precious asset in Jake from State Farm that we've worked so hard to build. And you take a risk like that. I think it's just important to celebrate when you make the right decisions and you're able to do it quickly. But we talk a lot about an equation that we have at State Farm, and it's a shift that we've made. We of course care about how many impressions we get. We of course care about our cost pers, right? All the things that we marketers have to care about and do care about. We try to focus on putting things through a lens, especially things like this through the lens of reach times engagement equals attention.(07:50):So when you get this sort of lightning moment, it's just a cultural moment that everybody's already paying attention to and you sort of are able to insert yourself into it. We have a lot of great partners that we work with, media partners, and we endemic in that football space. We knew everybody was going to look at that moment. We didn't really have to do a lot. We just had to put Jake from State Farm in the seat and everybody's attention turned to it, and it created its own 360 moment in its own way. And so the earned potential you get from that, the attention, that attention metric, syndicated headlines, engagement in social, everybody talking about it on replays and highlights, it's priceless. It's priceless. So I would say a lot of things, we have to work really hard to spread it across channels and make it 360. This was really just a matter of setting up the moment and then letting it do its thing.Ilyse Liffreing (08:46):How do you think about where Jake will show up next?Patty Morris (08:50):We actually try to be really disciplined about this. He is that physical manifestation of the promise that we sell in insurance and the relationship that we sell. And so I think the first criteria is, is it authentic to the brand and how we want him to show up, and is it demonstrating relationship and connection in the right way, and is it true to our values wherever he's going to show up? The reality also is he is one

In this episode of The Big Impression, Kelly breaks down how Diageo is turning tequila into a global cultural force. One standout example: a six-city collaboration with DJ and fashion icon Peggy Gou that combined out-of-home, merch drops, pop-up events and hyperlocal storytelling. From a Hong Kong hot pot party to a Milan piazza activation, every detail was designed to blur the line between brand and experience.  Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio. Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:08):Today we're talking about how one of the fastest growing categories in the spirits industry, tequila and mezcal, is being shaped by culture, identity, and global consumer trends.Damian Fowler (00:20):Our guest is Sophie Kelly, SVP of Global Tequila and Mezcal Categories. At Diageo, she's leading the strategy behind some of the world's most iconic tequila brands, helping Diageo navigate its growth, changing cultural expectations, and the new ways consumers connect with celebration.Ilyse Liffreing (00:39):We'll talk about how Diageo is bouncing global scale with local storytelling, and in short, how tequila has become a cultural force beyond just the shot glass.Damian Fowler (00:50):So let's get into it.Ilyse Liffreing (00:51):Diageo is no stranger to bold campaigns and really intersecting in today's culture. How does your latest work in the tequila and mezcal category continue that legacy? And with your latest campaigns, what was one core story or rather insight that you're trying to bring to life?Sophie Kelly (01:13):Our moment of consumption is normally when people are out socializing, trying to have the best times of their lives or celebrate a major moment in their life. So think birthdays, weddings,Ilyse Liffreing (01:25):Or even here atSophie Kelly (01:26):Can, even here at can, right festivals. So what is really important for us as we build our brands and think about how we go to market is that we are creating experiences for consumers to participate in. I think some of my favorite stuff across the category is on Don Julio. I mean, we launched a brand new product, 1942 Manys, which was a 50 ml supposed to allow people to access the luxury of 1942 at a better price point in a fun format. And we did that in the Oscars, right? But the most recent one, which I just adore and am still obsessed with and is still going, would be our cultural global collaboration with Peggy Goo. She is a number one DJ globally. She's also an icon in the fashion world, and she creates a load of fashion jewelry. We discovered her in Southeast Asia and she was a massive fan of 1942.(02:32):As marketers, we just started to ride along with her and gift her and be a part of her experience. So we approached her and said, any interest in creating a 1942 special limited edition with us? And she was blown away. She was like, yes, but can I design the product? Can I design the experience? Can it be global? Can it travel? Can it be teased? We said yes to all of the above. So we started off in Miami where we had an intimate party, but that intimate party probably had influences at it that had over a hundred thousand followers on Instagram. So we started to tease the collaboration, which was called the 1942 goo. And that's a really important element because we changed the logo of 1942 to be 1942 goo. We teased the campaign with outdoor and these events and we went from Miami to New York, to London to Milan and then to Seoul and then to Hong Kong. New York had a pop-up souvenir store in a car park. When we went to Milan, we did it in a piazza. When we went to London, we did it differently. When we were in Hong Kong, we did a hot pot pop-up. One of the most special parts of the experience was in Seoul, right in her home neighborhood and right next to where she was going to perform. And that was already up six weeks before it came. So we are teasing the drum roll in and the desire for people to be a part of this limited experience.Ilyse Liffreing (04:12):Now, I know you're talking a lot about out of home, but what were some of the other marketing channels that you leaned into for this campaign?Sophie Kelly (04:18):Everything in the popup was consumable or was collectible. So whether it was the key chains, whether it was the hats, whether it was her specifically designed scars, consumers could collect it, they could create content on it and they could share it broader. So then what started to happen was they were creating their own content. She was creating her own content and influencers within her sphere were creating their own content. And then there was the tease that we were moving to a new city. So that was creating a hype in that. So when you think about channel mix, it was digital, it was static, it was experiences, real life experiences, and most importantly, actions doing something, not just talking about it and then providing people with beautiful little artifacts that they could collect from the experiences to participate and create around.Damian Fowler (05:18):We want to get to what your takeaways are in a minute, but before that, I want to ask you, it is interesting when you watch the kind of trajectory of different spirits, it seems like tequila's having a serious moment right now. I mean, for example, in New York, just the other week I ordered a mezcal Negroni, it wasSophie Kelly (05:39):Amazing. 800 new craft brands have been launched into tequila in the last, I dunno, two years.Ilyse Liffreing (05:47):Wow, that is a lot.Sophie Kelly (05:47):So we are seeing a boom in tequila in the same way we saw in North American whiskeys in bourbon in the last five, six years and as a global business unit that I represent. So you are running the gamut of understanding the benefit of the experience of tequila, which is high-end tequilas that are incredibly versatile, that are suitable for multiple occasions and multiple drinks in a culture like the US to teaching people that tequila is no longer that bad shot you had in college. How do you educate? How do you train, how do you get these drinks into culture so that people choose them? Well, you got to have strong brands. You got to have the love of the bartender and the on-premise and you create the biggest rituals there beyond anywhere else, and they travel into the home and then you've got to pick up how consumers are interacting, right? So I'll give you a fun one. For example, we were in the ski fields and we observed that people were taking hot chocolates in shot glasses and then they were tipping the mini that I gave you, the 1942 mini into the top of the shot glass, and that was a serve. So we took that and we scaled it across the ski resorts, right? So from simple mixed drinks to sipping age liquids to fun novel rituals in clubs is how you really fuel what's going on.Damian Fowler (07:19):In terms of takeaways, do you have any kind of data points that show the growth and interest in this category?Sophie Kelly (07:26):It's the fastest growing spirits segment in the category right now and is forecasted to be that way for the next five years. So if you've got spirits running at about three or 4%, you've got tequila running at about six to 11%, which is kind of amazing. It's also very specific on its development. So if you look at the US, it's more developed. You look at Mexico, it's very developed and the rest of the world it's between five and 15% penetration. Give you a fun fact like whiskey and vodka is up around 36, 42 depending on the market. Yeah, too many people associated tequila with college shots. That is not the experience of tequila. It is playing across high energy. It's in the club, it's with the VIPs, it's with the celebrities, but it's also playing in casual connect moments and simple mixed drinks. So you're able to get into cocktail culture as well as simple mixed drinks. So I think that's a lot of the key to the growth we're seeing and just the versatility and the taste profiles.Damian Fowler (08:36):Now that the campaign's out there, you did hit on some of these obviously, but are there key signals and metrics that you look to on your dashboard? As it were,Sophie Kelly (08:45):Our consumers had watched over 190 days of content. We got up to 9 billion impressions, which is pretty extraordinary. And what I'd say is lots of chat about AI and is it going to take over. I think the beautiful combination of cultural collaboration with talent, the right kind of elements in the experience to create talkability and then utilizing tech from a generate insights about the communities and how we're going to combine them and what they need in the experience to also distribution, right? Taking the influencer content, taking the bartender content, taking the experience content and amplifying that out to further bigger audience was critical on distribution.Ilyse Liffreing (09:34):Sophie, can you tell me whether there is a market or a moment that delivered the most surprising engagement or maybe taught you something new out of this whole campaign?Sophie Kelly (09:46):One of the most surprising stats was just how many hours of content our consumers consumed on the campaign because it was so engaging, right? The other thing I'd say is as she traveled, she went into global duty free, she signed bottles, she met consumers, and that exploded as well. So I think one of the surprising things for us was this relationship started in Singapore and then we cultivated it and then we were able to scale it globally, but also make it extremely local to that market.Ilyse Liffreing (10:30):So Sophie, from your perspective, and here's your big impression here, how are those broader cultural shifts really influencing the way Diageo approaches brand building in the tequila and mescal space?Sophie Kelly (10:46)

In this episode of The Big Impression, we’re joined by James Rothwell, managing director of brand marketing at Kinective Media. Rothwell walks us through what’s changed since launch — from major brand partnerships and custom content integrations to a headline-making alliance with JetBlue. With over 110 million traveler profiles and 63 million MileagePlus members, Kinective is fast becoming one of the most compelling new players in commerce media. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio. Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're checking back in on one of the boldest moves in airline media, connected media by United Airlines as they've redefined what's possible in the world of Traveler Media Networks.Damian Fowler (00:22):Our guest is James Rothwell, managing director of brand marketing at Connective Media. James and his team are helping United leverage the power of 110 million traveler profiles, create new opportunities for brands across the entire customer journey.Ilyse Liffreing (00:38):We actually spoke with Connective on this podcast just last year and just a week after they launched. A lot has happened since then from major brand partnerships to rapid innovation in tech content and measurement, and today we're catching up on what's new. So let's get into it.Damian Fowler (00:57):So James, this time last year, United had just launched Connective Media. It was June, 2024 at CAN, and it was the first airline media network. Could you walk us through what's happened since then? How has the network grown? How has it attracted brand campaigns and how is it working?James Rothwell (01:20):Yeah, absolutely. And thank you Damian, for having me on. This is great to be here. We just celebrated our first birthday, which is a wonderful thing. We're engaging with so many different types of brands who are interested in reaching a premium traveler audience. We've seen some success in most of the key verticals that you would imagine, and then some surprising ones too. And obviously it's a slam dunk for a travel brand or a destination brand, but those non-endemic brands, the non-endemic advertisers who are trying to reach travelers, no matter where they are in their journey or even in between journeys, we're finding really interesting use cases, really interesting targeting options and ways for them to be able to reach them across all of our screens. And on,Damian Fowler (02:08):Let's get into it a little further. Can you give us some examples? And you mentioned non endemics as well, but maybe we could start with the endemics and then move on to the non endemics.James Rothwell (02:17):No, absolutely. I think travel as a category is a growth sector right now. I think ever since the pandemic, people have been looking to explore the world and get out of the, I mean, they were cooped up for quite a while there, and so travel's never been more popular. Like any industry, you've got to break through the noise and the options that you have out there. Right? World's a big place.(02:43):Luckily we fly to a lot of different places. We have over 330 different destinations. One really interesting case study that we've just completed was with the Cayman Islands tourist board, and they were looking to drive passengers travelers to the Cayman Islands, and they worked with us across all of our media, and we were able to do closed loop attribution based on the bookings that were then made to those destinations. So for us, measurement and measurability is incredibly strong in the travel sector and the travel space. We were able to see basically with Cayman Islands, that 9,000 bookings came from exposure to the ads that ran across email, across our club lounges and in our entertainment seat back screens on the planes. So we were able to drive awareness, intent, and then conversion, and we were able to track that and they saw a 13 times return on an ad spend against that campaign. We were incredibly happy with that. They were incredibly happy with that. We obviously made some travelers very happy to go enjoy the wonderful blues ocean around the Cayman Islands.Damian Fowler (03:58):Yeah, there's something nice when you see that on screen. You'reJames Rothwell (04:01):Like that, I'm going to go there. Yeah, that looks nice. That one sells itself. ItIlyse Liffreing (04:05):Does. So you mentioned non-endemic brands too. That's really interesting.James Rothwell (04:09):Yeah, I mean, we're all travelers, right? We all got on a plane to be here in Cannes. It doesn't define us, but certainly it helps to give context and potentially insights around who we are as individuals and what we like to spend our money on where we like to spend our time. And so that translates into a really interesting audience segment for different brands. So we've had a lot of luck and a lot of success with luxury brands who want to reach, especially front of plane individuals. B2B brands has been a real boon for us as well. Business decision makers, they're looking to find those individuals and we can find 'em on the planes in the clubs and through different digital channels as well. And so that's been a really interesting sector that we've been able to really capitalize on, and I think they've been able to see some significant growth on that. And we work with, for example, JIRA, which is an Atlassian product, and they did a full omnichannel activation with us and they saw some fantastic results there.Ilyse Liffreing (05:16):Very cool. Could you describe that a little bit more, how, I guess you worked almost in a custom way, it sounds like With JiraJames Rothwell (05:26):For that one was very custom. In fact, they had their own branding moment and wanted to use some of that branding and creativity and plug it into the inflight entertainment screen. So we created a custom channel for them with curated content behind it, which then obviously gave them a branding moment and an opportunity to drive their messaging with more engagement. So that was a very custom moment, but also an opportunity for us to do very targeted work to find the right audience members throughout the journey.Ilyse Liffreing (05:56):We spoke with Mike Petre on this podcast just about a year ago, A week after you guysJames Rothwell (06:02):Launched. That's right.Ilyse Liffreing (06:03):It seems that you're moving fast and obviously moving on to things like custom solutions and everything like that. What else is new in the past 12 monthsJames Rothwell (06:12):Where to start? We've been bringing on a significant amount of partners, not only on the technical side, but also on the content side. So most recently we did a deal with Spotify. We're very excited about that partnership. Again, from a content perspective and an engagement perspective, that gives us a whole new set of ways and deeper engagement from people while they're on the planes. It's also an opportunity for a loyalty aspect of that as well. And we'll talk a little bit about how Mileage Plus comes into our overall offering, but if you sign up for Spotify Premium, there's a Mileage Plus component to that. We are the first airline to offer audio books and video podcasts within our planes. There's a lot going on in the loyalty space. We are working with many partners to be effectively integrated into our loyalty program with that will also be a media component as well. So this marriage of loyalty and media together is been a real, it's been very successful in terms of not only helping to drive awareness of those campaigns and those opportunities for Mileage plus members to convert, but also to drive media value for those individual brands. So Vivid Seats is another recent partner of ours where we are able to give mileage plus members the opportunity to earn miles as they buy tickets to entertainment. But you can imagine a world where for those types of companies, we know where those individuals are going to(07:41):At those destinations. Those companies know how many seats are available at a particular location. Can we match that data and make really customized targeted advertising campaigns to say, okay, we see you're going to Vegas, here are some seats available when you get there. So that opportunity of matching data with our partners from a targeted perspective and then a loyalty perspective is really limitless in terms of what the opportunity is there.Damian Fowler (08:08):Let me just ask you, partnerships like this seem hugely valuable in this space. What else are you seeing?James Rothwell (08:15):One of the partnerships that we're super excited about is a very recent announcement with JetBlue. We will be working with JetBlue in a number of different ways. Again, loyalty will be a component of that where we are able to, a JetBlue customer can use United Miles to fly on JetBlue and vice versa. There will be a component that will extend to airport and gate availability down the road. There's a commerce play part as part of that where JetBlue will be powering commerce for us for ancillary products like hotels, cruises, cars, et cetera. And then where it's very exciting for the Connected Media group is that we will be effectively selling JetBlue audiences under the connected media roof that will sit alongside our United Media and United audiences. So the combination of that obviously is a scaled audience across different geographies where JetBlue is stronger in the northeast where we are not as strong. So very kind of complimentary in terms of the audience. And that obviously from an advertiser perspective is great because that's more scale. It's one less phone call to make in a world where there's 280 different media networks that kind of consolidation or rather that opportunity to create an airline audience at scale. We think t

This week, we’re talking to Ryu Yokoi, chief media and marketing capabilities officer for North America at Unilever, about Dove’s “Hot Seats” campaign — a bold, culture-hacking activation that shows up where the sweat is real and the stakes are surprisingly high.  Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler, and welcome to this edition of The Big Impression. Today we are talking about how Unilever is breaking taboos, opening up new kinds of conversations and connecting with consumers in some unexpected places. Our guest is Ryu Yokoi Chief Media and Marketing Capabilities Officer for North America at Unilever. We're going to dive into DO'S Hot Seats campaign. It's a bold effort to normalize conversations around full body freshness and engage people across both digital and real world spaces. We'll be talking about how this campaign's activating across concerts, social, retail, and digital platforms. So let's get into it.Ryu Yokoi (00:46):It always starts with understanding our audience and also try to make our products really relevant and desirable in that context. And so the hot seats are originated from social listening within the community. And in particular, one of our, actually her name's Dana Pucci, who leads our PR and influencer work on Dove for North America is a big Charlie XCX fan. And she noted that the Incredible Sweat tour, which was driving and kind of owning the culture last summer in the brat summer, that was(01:21):Unfortunately the Sweat tour smelled not great. And it turned out that Charlie and Troy Sivan were going to be performing in Los Angeles the week before the launch of our new whole body deodorant. We kind did a takeover putting our product in the bathrooms. We sent in creators to sort of experience what a show is like when you can make sweats smell great. And the results were kind of magic because we got just unbelievable. The UVC on this and the Delight with folks attending a concert that actually smelled great was really fascinating, just fantastic response. And that week we had a really great launch of the product, first hitting the digital shells on Amazon and doing great.Damian Fowler (02:02):That sounded like a very fast activation for a campaign.Ryu Yokoi (02:06):It happened literally within 10 days.Damian Fowler (02:08):What was the war room like for that 10 days? How did you strategize to get that done?Ryu Yokoi (02:14):We always emphasize we want to build worlds instead of chasing moments. So when you have an idea of what you're trying to build with the brand, how you show up, then it becomes a lot easier.Damian Fowler (02:25):And tell me a little bit about the tone. I mean, one of you mentioned the humor element of it. Why is that real talk, that humor so key to Dove campaigns?Ryu Yokoi (02:34):Well, I think there's a real authenticity that the brand has earned. We say, oh, it's an authentic, it's only authentic if people believe it. The brand is really comfortable in its own skin. We have a sharp understanding. I think that goes beyond a positioning statement to really understanding what this brand stands for, how it shows up in real life, what it would be like if you were to meet it and still be consistent in our building of that brand means to people.Damian Fowler (03:00):Yeah, I mean, I've got to say I live in New York and I've noticed the campaign on the New York, out of digital, out of home subway screens and it just totally cuts through and I noticed it. And of course you're standing on a New York City platform in terrible heat, humidity, and everyone's sweating. It's like a perfect placement.Ryu Yokoi (03:19):Well, I would say the subway work you've seen is really telegraphing that benefit, right? If you're blessed to be next to somebody who's wearing dove on the subway, then wow, this is a good ride. We've sponsored Charlie's spring tour and we're also showing up at other festivals like Lollapalooza, which have just provide another canvas for us to tell the story.Damian Fowler (03:38):Is it a case that once the campaign's out there in the wild, it builds its own momentum? Or are you actively trying to find new events, new points of pop culture? Kind of.Ryu Yokoi (03:47):That's exactly what we're trying to find, right, is we understand that if we're able to actually become part of the discourse, we're not just broadcasting ourselves in, but actively playing a role and helping people. And we had a similar case where the first weekend of Coachella people were again, lamenting unfortunately didn't smell great, and in this case somebody not us posted saying, well, I wish Dov would come and help here. We really had a lot of fun with it. We flew a plane over Coachella the second week saying, the cavalry's coming help is on the way we hear you need.Damian Fowler (04:24):That's good.Ryu Yokoi (04:25):Some help. And we're going to be there. We lined up folks around the entrances so that folks could kind of get freshen up on the way into the show or get freshened up, and more than a thousand people took advantage of that.Damian Fowler (04:35):Now, I wanted to ask you about some of the key signals or early reads on the campaign. I'm sure you're paying close attention as you evaluate the impact. What do you look for on your dashboard, as it were?Ryu Yokoi (04:47):Right. So I think first and foremost, you're right. Measurement is the most importantDamian Fowler (04:54):Thing.Ryu Yokoi (04:54):But first and foremost, we did this the week before we were launching the product. So the first signal was did we turn well? And weDamian Fowler (05:02):Did.Ryu Yokoi (05:02):And the ramp on the product was really terrific. But I think to your point, it's really important no matter what the channel that you're playing in, what are the leading indicators that we can correlate with performance? In this case, it was one where things happened so quickly and we knew there was literally nothing else happening when we did this, and so we were able to isolate that way.Damian Fowler (05:23):Are there other channels that you are kind of thinking about or could be targeted for the campaign?Ryu Yokoi (05:31):In principle, I want to be able to capture signal everywhere. For me it's just around understanding where are people discussing whatever it is that we're trying to get into the discussion on and being authentic there. So for us, Reddit is a channel we haven't used as much in the past. Certainly now I find it increasingly of relevance for us. So we're trying to build up a skillset there,Damian Fowler (05:55):EspeciallyRyu Yokoi (05:55):Given how important it is with ais. Right.Damian Fowler (05:58):What about audio? Is thatRyu Yokoi (06:00):Podcast? Absolutely podcast. So(06:03):I would say, again, this was highly before it became something that we were rolling out in real life. Oh my goodness, the word is spectator events. Before it became something we were doing in real life as spectator events, it was a highly music driven campaign because we had decided to reboot this classic hip hop song from a few decades ago. And so it was already sort of music oriented and had played that way. But yeah, so for us it's exactly to your point. If we're talking about something that we're doing that's focusing on music or spectators, obviously audio is going to have relevance. Where are Charlie's fans actually discussing this? It turned out it was happening on Reddit. We go there, where are they discussing their experience at the concerts? We were seeing a lot of chatter on TikTok around that. And so we moved there. So we try to be nimble and agile and really be where the discourse is happening.Damian Fowler (07:07):So we're going to zoom out a little bit and just look at the big picture of the landscape beyond the campaign. But as you think about where culture is heading, whether it's wellness, inclusivity, or body confidence, what does the campaign kind of tell us about where Unilever wants to go with its brands or its kind of messaging wants to put out into the marketplace?Ryu Yokoi (07:27):We're all about building desire for our brands at scale. So we want to engage with communities wherever they are. It's about having a deep understanding of who our shopper is, what is driving desire for them, who influences them, and how we can really engage with them and create a discourse where we can try to move towards many to many communication.Damian Fowler (07:49):One of the big challenges for Marcus is balancing the long-term brand building with the short-term sales results. And do you think that there's a tension there right now in a marketplace that's very much dialed into performance?Ryu Yokoi (08:01):Listen, I think that it's really important that you have the right measurement in place and that you can understand both the short-term and long-term effects of the investments that you're making. That's something we really pride ourselves on. We want to be the most outcome oriented advertiser in the marketplace. But the other thing I would say is that more and more data signals and shopability are making it so the funnel is collapsing and we're nearing places when it comes to QR or having true shopability in stream where even executions that in the past would've been considered the most upper funnel can actually drive a transaction in that moment. And I think a future of that's really exciting.Damian Fowler (08:40):So finally, we're going to get into some of these hot seat rapid fire questions here.Ryu Yokoi (08:44):Okay,Damian Fowler (08:44):So you ready?Ryu Yokoi (08:45):Yes, let's go.Damian Fowler (08:46):Alright. What's one thing you're obsessed with figuring out right now?Ryu Yokoi (08:50):We've been talking about how much we've built out resources in this area and all of the interconnections that the data allows us to make. That implies campaigns that become more and more complex and much more complic

B2B marketing has long been stuck with a somewhat boring reputation: rational, buttoned-up and forgettable. Tim Hoppin is on a mission to change that. As chief brand and creative officer at SAP, he’s helping one of the world’s largest software companies embrace big creative swings — and prove that business buyers are humans too. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio. Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:02):And I'm Ilyse Liffreing. And welcome to this edition of The Big Impression.(00:09):You might be wondering, wait, what? Isn't this The Current Podcast? I'm here to listen to brand marketers talk about the highs and lows of their brand campaign. I know I am. Well, rest assured, we've just had a little bit of a brand refresh. We're now the big impression, andDamian Fowler (00:27):That's official shout out to our creative team for the new name, which I really love actually.Ilyse Liffreing (00:32):So without further ado, let's kick off this new season with a great guest.Damian Fowler (00:39):And today we are delighted to be joined by Tim Hoppin, the chief brand and creative officer at SAP.Ilyse Liffreing (00:45):Now, SAP makes software that helps big companies run everything from payroll to supply chains, all in one integrated system. It was recently hailed by brand Z as a 23rd most valuable brand on the planet.Damian Fowler (01:00):And no doubt, some of that's thanks to Tim. He's a brand builder who spearheaded the tech company's recent B2B campaign, unstoppable, which was shortlisted at this year's Cannes Lion, and that's where we sat down with him. So we're going to start out with this sort of philosophical frame. Ryan, you have said that a brand must influence everything a company makes, says and does. Could you explain that philosophy a little bit?Tim Hoppin (01:29):Yeah, sure. I think a lot of people even just kind of reduce it down to branding, like the colors and things like that and maybe the expression a little bit. But the way I think about a brand transmits meaning to people, and it does that through lots of different formats. So when I say what a brand is, what you make, you're actually affecting the service or the product that you're actually delivering to the world. So my classic example is Harley Davidson. Those motorcycles don't use plastic and they do that very specifically because they want the brand to be expressed a certain way in products. And then when I say a brand is what a company says, that's your marketing, your communication, and then what you do is your activations, your choices on what kind of companies you're going to invest in and so on and so forth. But it's all three.Ilyse Liffreing (02:25):Yeah. Can you walk us through your recent SAP campaign, which I believe is called Unstoppable?Tim Hoppin (02:31):The campaign was built to communicate a new way we're going to market with our products, which is bringing together all the different parts of the software that we make. We tie together, we call it the SAP Business suite, and we're dramatizing it with sort of metaphors that bring it to life. For instance, sometimes if you're in business and you're in charge of something, like being head of it could feel like you're literally underwater. So we recreated what literally happens when the entire office goes underwater. So we filmed the entire office submerged underwater, and people are trying to go about their business. And of course at the end we introduced our product, which kind of drains it and gets things back to normal. And another example, sometimes when you're trying to innovate, it's like an uphill battle. So you start off and the entire building tilts on its side and we kind of go in this metaphor world where the COO is trying to march up a hill and things are coming at her and she's trying to dodge it. So they're all metaphors that we can kind of associate, but they're also very real stories. Every one of 'em is based on an actual customer story.Ilyse Liffreing (03:47):Very fun. What would you say are the key consumer business insights behind this campaign?Tim Hoppin (03:54):Yes, because purely B2B, our research is a little bit, you have to be more precise in getting those insights. So a lot of it has to do with doing interviews because there's not like a survey you're going to send out to a bunch of CFOs or CEOs and they're going to respond. They're pretty busy people. But we can do other things like get some individual interviews. We do quant studies as well as well, but it's easier to get real insights when you actually talk to real people. So more like anthropology research, I'd say, than sort of traditional marketing broad surveys.Ilyse Liffreing (04:35):Some people might say that emotional storytelling and B2B business campaigns are almost like a oxymoron of sorts. Is that at a conundrum would you say,Tim Hoppin (04:51):How many times have you seen a piece of content that's using just stock imagery talking about functional stuff and you just ignore it? And so there's this perception that that's what everybody wants and does. We are seeing a renaissance in B2B where emotional, strong, insight-driven work is what works. And so I think you're going to see more and more of that as people realize that it actually is more effective.Damian Fowler (05:22):It's interesting to me that the B2B is being put out on what you might consider consuming channels. I'm just curious to hear your take on why that was important and basically how did you activate this campaign and where did you want to put it?Tim Hoppin (05:38):Yeah, so our media team and working with their agency took the brief that we're trying to do two things. We're trying to both lead people that are maybe in market ready to buy, lead them into our ecosystem and get in touch with our salespeople. But we also recognize that SAP as a 50 plus year old company has some perceptions out there and we need to constantly reeducate the marketplace about who we are, what we stand for, and then also present ourselves to the next generation. 71% of all B2B buyers are either millennials or Gen Z, 71%.Damian Fowler (06:20):Wow, that's a amount.Tim Hoppin (06:22):Yeah, it's a lot. So to become and stay relevant, even as the world's largest enterprise software company, you can't rest on your laurels. So some of those media tactics, like being in airports or some television buys in very targeted ways is designed to get broad enough reach so that we can get people familiar with us and start to understand what we stand for so that when they're ready to buy, they're not just hearing about us for the first time. And then of course we're looking at the real data, what's happening out there? Happy to say that all of our creative work has got five stars, or hybrid is the highest you can get the system one, we're beating every industry benchmark. And then in market, the performance that we're seeing in the market is also way above all of our benchmarks. So we're excited because as we like to say, if creative doesn't work, it's not working.Ilyse Liffreing (07:14):Was there an insight that you say you took away?Tim Hoppin (07:18):I had a strong hypothesis that there would be some disruption just from visually the way the campaign is presented, especially the films. I think the thing that's really surprised me as we did our research, what a chord. It's striking with people. There's one comment that came through just from the qual study that we did where people were saying, you finally get me. Not only is the content visually arresting, but emotionally resonant, people really feel seen. And to your comment earlier about like, Hey, B2B is seen as traditional and there's such a, I'd say a traditional and sort of safe approach to just use business people doing businessy things and boats and cars moving fast and satellites flying by the camera and putting a logo at theIlyse Liffreing (08:14):End. I've seen that one. Yeah.Tim Hoppin (08:15):Yeah, I've made that one unfortunately. But to really take this risk and tell interesting stories that are based on real human insights and have emotion and are disruptive and have the very people that we're trying to reach go, thank you, thank you for seeing us, telling us a story that's different. I have this saying, if you want to be disruptive, you actually have to disrupt. And so there's also sort of a hungered SAP, we have to reinvent ourselves. We are in our product and our go-to market. And so the brand platform that we created over the last three years, now this is the next level, is taking the campaign higher. So I think we're on this momentum of transformation, and so it just felt natural to do it. And the way we're investing the does part's also coming true, frankly, the way we're investing in AI and kind of transforming what's possible from a 50 plus year old company. It's exciting.Ilyse Liffreing (09:12):Let's talk a little bit about ai.Tim Hoppin (09:14):Yeah, sure.Ilyse Liffreing (09:15):On that note, how are you guys investing in AI and what do you foresee(09:16): Damian Fowler (09:23):Creation play? Yeah, as a creative person, do you feel threatened by it orTim Hoppin (09:26):Not at all.Damian Fowler (09:29):Jump on your question. That is the question.Tim Hoppin (09:31):Yeah, it's the question of the week. Big question. It's come up so much. Actually, I was talking about this the other day.Ilyse Liffreing (09:35):You're probably tired of people talking about it.Tim Hoppin (09:38):No, I actually think what's been really refreshing is two things, always the first part of your question, which is as a company, we are basically transforming into a data and AI company. I think pretty much anybody who's going to survive has to do that. So we've made software for 50 years, but what all the companies that run on our platforms, it's the data that's the most valuable part, of course. And so the AI that we've develop

With websites covering topics like entertainment (ScreenRant), gaming (Polygon) and automotive (CarBuzz), Valnet caters to users across a wide array of interests.But according to Ji Heon Kim, Valnet’s head of monetization, Valnet realized it could create more value for its users by encouraging them to subscribe or authenticate themselves.Maybe a “mass scale” of users wouldn’t sign up for their websites, but perhaps 10% would. And, as Kim puts it, that “10% would still be valuable, and we can do a lot with that 10%.”“We created more value to [those] users, more exclusive content and high-quality content,” Kim says. “All of that became an initiative on the content side for us to deliver a premium model and give users an incentive to sign up.”Kim further talked with The Current Podcast about balancing advertiser value, user experience and performance, which he says are “always affecting each other.” Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler, and welcome to The Current Podcast. Today we're talking to one of the biggest digital publishers. You might not know by name, but you've definitely read their stuff. I'm talking about Net. The company behind Screen Rant, the Gamer, Kaleida make use of, and a bunch of other sites that rack up hundreds of millions of sessions every month. Joining me today is Ji Kim Valnet's, head of monetization. Ji'S been leading the charge on everything from supply path optimization to first party data to figuring out how to drive real revenue without compromising the reader experience. We'll get into some of the big shifts they've made in their tech stack and how they're bringing newly acquired brands like Polygon into their ecosystem and what other publishers can learn from their approach.Ji Kim (00:52):At Valnet, I'd like to think of us as a publishing powerhouse. We started very small. Our motto is humble and hungry. We like to remind ourselves that it's always good to keep a humble mindset. I've been at NET for 10 years and we've grown tremendously. We've went through a lot ups and downs, but even as we grow, we like to think that we're small and agile and the publications we range from automotive, gaming, technology, entertainment, but entertainment has always been our flagship, but we've been kind of branching outside of that and trying to expand more and more. And then we have some lifestyle brands as well as sports.Damian Fowler (01:35):Let's talk about a moment that changed the game for Net. Can you walk us through your, I guess we're going to talk about supply path optimization at first anyway, which is a hot topic around these parts and what work you did around supply path optimization, like cutting resellers and boosting direct inventory. Could you talk us through that a little?Ji Kim (01:57):It's an ongoing process. It's certainly, I think most people agree that SPO is not an easy thing to achieve. You can commit to it one shot, but that's much harder to do considering that there will be a revenue impact. So for us, we tried both ways. We took a few sites and we took the direct approach and we saw a pretty decent stability, and then some other sites did not, and then we have to kind of revert back to it. SPO, it was always a topic that was talked about but not well enforced. And tradedesk took a big initiative to push publishers towards it. And then we started working closely with Jounce Media as well, with Chris Kane started kind of talking through some of the ideas, how should we go about it? How do we retain the value and still achieve removing the resale alliance and keep our inventory as clean as possible?(02:51):But initially our outlook of SPO was about making our inventory as clean and transparent as possible. Net considers ourselves as a premium publisher and we want to make sure that the advertisers see that as well. So we were heading in that direction. But ultimately, I think the biggest challenge with SPO was it's impossible to do an AB test because you have one A TXT file and you can't test one setup with the resell alliance, one setup without. So that's been pretty challenging to understand where's the value going, where is it coming from? And even with the Resell Alliance, when you talk to the SSPs with Resell Alliance, they'll go, oh, these are PP deals. These are not just rebroadcasting and all this stuff. So trying to understand the granularity and all that details of what each resale align means was very difficult. But ultimately we know we have to go in that direction, but we know it's not going to happen overnight, so we're kind of just taking a step at a time.Damian Fowler (03:51):That's great. What would you say was the kind of catalyst or moment that sparked that shift?Ji Kim (03:57):We always talked about advertiser value. It is important to yield as much value as possible and get the performance that we need. We always think that advertiser value is important, and when we think about that, it's like you go through stages. You go, okay, viewability needs to be important. Let's get viewability up to above standard, above average, make sure our CTR is good, but it's high quality clicks. It's not just users just clicking on stuff. Then you go through the lines and eventually you get to SPOs. Make sure that advertisers know what inventory they're getting access to, what they're buying, and make sure that they're getting insights. The transparency is there. Then we've increased the value of our inventory.Damian Fowler (04:46):Yeah, I mean that's the key, right, obviously. And speaking of that, having made these changes, are you in a position to be able to see the kind of impact that they've had from a revenueJi Kim (04:58):Perspective? Honestly, I don't think I can everything, especially with these kinds of stuff, what I've learned is it doesn't change overnight. Let's say we remove all the reseller lines yesterday. Today, likely the performance is going to drop initially and maybe things recover over time, but there's so many moving parts that it's hard to associate the value towards SPO, and that's a lot of things that we do in this industry. But I think that's when we like to look at it as, you know what? Ultimately we are improving the quality of our inventory, so we will get rewarded at some point. And that's how you move forward. But with SPO, I think the other side is that it's not just about removing reseller lines. You also have to market yourself and tell the advertisers that, Hey, we have gone in this direction. We have removed the reseller lines. All of our inventory is direct. It's clean. And that part is also hard to do. We haven't spent a lot of time or resources into marketing ourselves, and that's why we talked about, people may not know net, but they know our brands. It's the same thing. It's like we are now making a big push to let people know who Val net is, and that's going to go in hand in hand with this stuff.Damian Fowler (06:21):In terms of that messaging around the surgery as it were you're doing on the supply path, does that land well with advertisers?Ji Kim (06:32):I think it's always positively looked at when you tell them, it's like everybody, it is never negative, but I don't know if actually if it's meaningful for them because at scale, they're buying at scale. So yeah, we're a big publisher, but they're also buying at multiple publishers. Maybe only small portion of their budgets come to us. So it's positive, but I don't know if it's all that meaningful to them. At least that's what I've felt.Damian Fowler (07:04):So in addition to the SPO, what other tweaks or changes are you as head of monetization looking at to basically bring in those ad dollars and keep readers satisfied, I suppose?Ji Kim (07:17):Yeah, so there's three things. So we looked at the advertiser value, but then there's the user experience and then the performance side. So always those three things, there's constantly affecting each other. Ad density is probably one of the biggest part of advertiser value and performance and user experience. So we are constantly trying to reduce our density, and we look at this metric impressions per session and request per session. So we look at that and injections our injections based on content length, a paragraph breaks and all that stuff. So we'll try to work with the content team to create optimal breaks. I'll have a little sit down session with the content team. The leads say, okay, this is how the admin injection works, and how you break out your content really does impact, because we won't break a paragraph in half to inject an ad. So there needs to be natural breaks for the ads to inject. So if you have massive paragraphs, we're going to have less ad injections, which is fine if the content works like that, but they also need to think about how all this stuff works.Damian Fowler (08:26):That's really interesting. I mean, I think that sweet spot between not being the Vegas strip, but also ads have to populate at the right time to have value.Ji Kim (08:35):For net, we've focused mostly on open market programmatic spend. We have a small direct initiative. This is something that we've been trying to grow, but when you don't have huge direct sales initiative and direct spend coming in, you kind of need the density because the CPMs that you get from open market is much lower. So we want to try to move away from that as much as possible. I don't think found that will ever be a publisher where we drive like 50% of the revenue from direct sales, but we want to grow it to maybe 15, 20%. And once we do that, we can yield higher CPMs, which allows us to reduce the density, which would be better for advertiser value, better for user experience, and we'll still get the performance that we need to kind of go forward.Damian Fowler (09:24):So it's a balance.Ji Kim (09:25):Yeah. Yeah. I think if we can drive higher CPMs, we w

In this episode of The Current Podcast, hosts Damian Fowler and Ilyse Liffreing sit down with Amy Lund, VP of integrated marketing and corporate communications at E. & J. Gallo Winery, to talk about Barefoot’s bold move to become the official wine sponsor of the NFL. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode of The Current Podcast, we’re joined by Rob Bradley, SVP of digital revenue, strategy and operations at CNN International Commercial. He shares how CNN has evolved far beyond its broadcast roots — and how it’s now helping brands tell more impactful stories across everything from connected TV (CTV) and free ad-supported television (FAST) channels to TikTok and LinkedIn. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Current Podcast.Ilyse Liffreing (00:09):This week we're thrilled to be joined by Rob Bradley, the senior vice rresident of Digital Revenue Strategy and Operations at CNN International Commercial.Damian Fowler (00:18):Now, Rob has played a key role in CNN's evolution over the last 10 years from a broadcast powerhouse into a cutting edge digital platformIlyse Liffreing (00:26):That includes launchpad, CNN's AI powered advertising tool that's been driving smarter, more targeted campaigns for nearly a decadeDamian Fowler (00:35):From global banks to tech giants like Samsung and even government launchpad has helped brands show up on CNN's platform in ways that are both innovative and effective.Ilyse Liffreing (00:45):So in this episode we'll explore that journey, how launchpad got its start, what it's become today, and how CNN is helping advertisers navigate a complex digital world using deep audience insights and data at scale.Damian Fowler (01:00):So let's get into it. So Rob, let's start by talking about Launchpad. Not everyone's familiar with it, but it's been designed to help brands market themselves to CNN's audience. So I know it's eight years old. Can you talk about the tool and how it's evolved to this point?Rob Bradley (01:19):Yeah, I mean, to take a step, media companies and news brands today need to be so much more than just a platform where someone can serve a traditional ad to reach an audience. Of course we do that and embrace that, but our audience exists in a multitude of different environments. Now, of course, o and O, which can be TV to digital assets, websites, but of course Fast and CTV now. And of course they're all across social, which means that when we're working with brands today, we need to have tools that enable us to reach audiences in all of those environments. Essentially our clients expect that from us. So we have to innovate to be in those places. And also of course, by utilizing areas our audiences exist in today such as social, it means we get a broader reach. So we try and of course a lot of brands are nervous about social, and of course we do compete somewhat, but I like to flip it on its head and think about how can we use audiences on off platform environments to our advantage?(02:16):So launchpad essentially is a good example of that. It's an in-house social media agency, essentially utilizes latest talent. I would say. I think people do come first that really understand the latest technology to help us understand our audiences both on and off platform. That did launch really just reaching audiences in places like Facebook, but now it's across all the meta platforms, YouTube, LinkedIn, TikTok, and more. And over the years that team, through utilizing technology, have automated processes. We understand sentiment of what people are consuming, how they feel against our content that we distribute both on and off platform. And then we use those insights to indeed empower the next piece of creative, let's say. And it feeds into our brand studio, which is called CNN Create, which actually touches about 70% of our campaigns now. So it's all about the way we go to market is really about selling stories and content and then utilizing the impressions and volume of scale we have around that in a smart way.Ilyse Liffreing (03:15):And today, CNN Parent Company, Warner Brothers Discovery has only massively grown since the launch of launchpad and has so many touchpoint and audience insights. You have the entirety of the Harry Potter world and DC comments to seen in news. How do you make sense then of all that data and how does it come together to benefit a launchpad campaign?Rob Bradley (03:41):So first of all, I'd say there's still a job to do and an opportunity of gathering all that together because there's so many touch points that both can power the marketing of movies that say as well as the targeting of campaigns. And those targeting of campaigns can of course be owned and operated environment. So again, we can push audience insights into social platforms to target through tools like launchpad, but ultimately by understanding who our audiences are means that we can do three things. We launched a product called WBD AIM basically, which was actually born out of CNN, used to be CNN aim, and it stands for Audience Insight Measurement. And really it means that of course we talk about targeting quite a lot, that's where the rubber meets the road. But really as a severe successful media company today, you need to go to market with insight led sales.(04:29):So use that data to inform sales to the clients, proving upfront why you've got the right audience and why they should trust you. And then of course there's the targeting the audience piece, and then there's the measurement of proving what you have done has worked. And so that aim piece all comes together as one kind of data play. And where we have had success of bringing that together so far internationally is CNN Eurosport D plus in the UK and TNT Sport in the UK now exists in one platform. And also of course that's really good for programmatic as well. We can push those audience insights, put them into the marketplace and enable brands to buy programmatically against that. So very much in the programmatic space, we're aiming at the more premium PG programmatic direct marketplace.Damian Fowler (05:16):Can I just ask you off the back of that, do you see news as part of that whole package or it's not a sort of siloed separate piece of what you are offering?Rob Bradley (05:27):Yeah, that's a really good question. I think if you are a brand that wants an engaged audience and you want to be part of a conversation that's happening today or drive a conversation, news obviously makes sense. But of course I wonder if this is where you're going. News environments are challenged at the moment in some respect. There is a prevalence of I think, unfair news avoidance in the industry, particularly with very blunt keyword block lists that are being used, which is pretty well covered in the press and that is a major challenge. However, sports has a similar issue, right? Because words like shoot and shot and attack are used all the time just as though are news. So actually sometimes if people think of news straightaway, but there's a broader issue with that. And the reason why I mention that because actually news and sports is both live, it's what's happening today, it's audiences certainly where we sell it can be sports enthusiasts across both platforms at the broader end, it can be business decision makers, it can be C-suites, it can be high net worths bringing those audiences and ultimately linking it to what WBD has an abundance of is very premium, very trusted, very brand suitable environments you could say.(06:39):And that marketplace of WBD and WBD Connect is the programmatic marketplace will keep growing.Ilyse Liffreing (06:47):Now you talked about how your bridging basically social to programmatic. Have you seen one success in that so far and interest from the brands you've been working with?Rob Bradley (07:00):I think it's basically it was quite an early adopter of programmatic in the belief that it enables the human led work media owners to grow. And that has been proven in embrace technology to do what it does well, highly scaled targeted impressions that started on the website that say ever increasing on CTV and FAST for us, joining all that together, putting our own data into those environments, trying to work at the premium end of it so that we get the yield up and really embracing the technology to do that married with what only we can do best, which is linking directly with a brand, understanding a brand on their agency. In many markets we go brand direct though really understanding what their challenges are and what stories they've got to tell. And then coming up with this multi-platform strategy that can include programmatic maybe at the mid funnel or the performance end, but also linking it to a full multi-platform strategy, which may include CTV, fast Web and tv. And actually 80% of our direct campaigns include all of those platforms and include that social piece. And I think the reason why I've sort of spoken about social in is I think people often wonder about how we can utilize it to make money, but actually it's a really important part of our business where we're kind of using the best of what programmatic can offer, the best of what social can offer and then the best of storytelling.Ilyse Liffreing (08:27):Yeah, perhaps I would love to hear about a brand that perhaps you guys have been working with and how you are really measuring that success. I'm curious if any platform or audience perhaps outperformed your expectations.Rob Bradley (08:43):Sure. Well, I spoke about linking CNN storytelling that could have social impact in some way or drive conversations or change opinions. And that is when we have a really strong partnership with the brand, that's what we do for them. Really it's about how can we change perhaps a view or input a view into someone's mind that they may not have had about a brand based on facts or something that brand is really genuinely doing to try and make the world a better place beyond just perhaps selling a product. So CNN Embarks on a really bold program with Samsung recentl

Chuck E. Cheese's Melissa McLeanas joins hosts Damian Fowler and Ilyse Liffreing on The Current Podcast to discuss how Chuck E. Cheese is leveraging its iconic IP for the streaming era, what advertisers are excited about and more. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian FowlerIlyse Liffreing (00:01):And I'm Ilyse Liffreing,Damian Fowler (00:02):And welcome to this edition of The Current Podcast.Ilyse Liffreing (00:09):This week we're thrilled to be joined by Melissa McLeanas, Vice President of Global Media Licensing and Entertainment at Chuck E. Cheese.Damian Fowler (00:18):For people who grew up in the us, Chuck E. Cheese means childhood birthday parties. It's long been a go-to destination for pizza games and the giant mouse that knows every kid's name.Ilyse Liffreing (00:29):In short, it's a pop culture icon with over 500 worldwide venues. But under Melissa's leadership, the brand is leveling up by launching the CEC Media Network in partnership with programmatic platform future. Today,Damian Fowler (00:42):It's a big move that signals a shift from just a physical play space to a full on entertainment platform, think digital storytelling in store screens, branded content and advertising that actually fits into the family experience.Ilyse Liffreing (00:57):We're going to jump in and talk about why in venue media might just be the next big driver of customer loyalty and growth.Damian Fowler (01:07):Chuck E. Cheese is such a nostalgic brand, especially in the United States, but here you are launching a full media network, which is a kind of big new chapter for you. Can you walk us through the vision and the strategy behind the CEC Media network and what is bringing it to life?Melissa McLeanas (01:26):Absolutely. First of all, thank you so much for having me. It is an incredibly exciting time at CEC Entertainment. Then Chuck Cheese, I would say it's a bold new chapter for the company and the Media network is really just a piece of that. The brand has been going through an incredible transformation over the last few years, and really at the heart of that is the vision to establish this brand as a global leader in entertainment. Now, I say that, but it's really reestablished the brand in entertainment. Chuck E. Cheese was born in entertainment. I don't know if you know, but the E in Chuck E. Cheese stands for entertainment. And really when you think back to where we started, we were a leader and really established the category of EAT entertainment. And as that space has evolved and family entertainment centers have really taken that center stage, we've continued to be a leader and an innovator in that space.(02:14):But a few years ago, I would say we probably hit a wall and it was a little bit tired. The bones were good as they would say, but it was really time for a reset and bringing a new leadership team to the forefront with a new background and experience in entertainment. We established several different strategic objectives, one of them being the division that I lead, and that's media licensing and entertainment. So really very simply put, the mission is to really drive incremental value and revenue for the company in a new way. So all US locations, we've invested over 350 million back into the business, a capital investment, and I'm happy to say that right now at this point we've completed the US all US locations, so just under 500, no small feat, and we're about to finish our own Canada locations as well. And what this looks like is cosmetically update to the interior and the exterior, a revamp of menu, all new games, and that entertainment package now features a large video wall. And then of course our character program.Damian Fowler (03:16):That's a lot right there. It's almost like you've had a complete perception shift in terms of what you're doing. It sounds like you are a channel in and of your own right and media channel. You mentioned out of home, but there's also CTV on all those points. This is a kind of multistream content strategy. And could you just talk a little bit more about how that will ultimately reach all of these consumers and how it'll deepen engagement, I guess, for families who go to all these different venues in the US and around the world?Melissa McLeanas (03:50):So yeah, that's a great point. So I guess let me step back and actually talk about what that content looks like. Within our fund centers, we have entertainment programming, let's call it a 90 minute loop, and it consists primarily of entertainment, content, family friendly entertainment content. Of all these initiatives, obviously the first and foremost most important thing for us is to make sure that we're delivering an amazing experience for our guests. And so that content must do that. It has to be relevant for our families, it has to be engaging, and it really has to convey everything that our brand stands for. So that's a mix of our own original content. So I talked about that, the library. And so we continue to create new content and then we pull from our library of content. So we really look for things that are a little young, but it has to be appealing to an older guest.(04:37):At the same time, there can be aspirational content, so maybe some of our 10 year olds and 12 year olds are there with younger siblings, and then you got your parents. So there's a lot of opportunity there. The other thing that digital screens in this update to programming does is it allows us to do regular seasonal updates. And I think that's also really important, especially as we're growing programs like our membership program, our past program, we've got some repeat visitation, we're consistently updating and keeping that fresh throughout the year. Now as part of that, there's a lot of partner opportunities. And so for our entertainment partners, like I said, you can get the latest clips from your newest release for some of the newer content creators. We've got an active captive audience sitting right there paying attention to those screens, and we've created an environment where they're tuning into those screens. And so bringing our characters, since we do all of that content ourselves and working with other content creators to create some co-branded content, there's a lot of different ways for partners to really be a part of that entertainment experience.Ilyse Liffreing (05:38):Now I know it's early days too, but perhaps you can talk about some of those partnerships that you have going on with needy buyers and national advertisers and then how important the media network is to Chuck E. Cheese's broader business evolution.Melissa McLeanas (05:54):Absolutely. I'll actually take that moment to do a quick and talk more specifically on the advertising opportunity. I think a lot of what we're doing with the content and the characters is incredibly exciting, but it's also a really exciting time in the digital out of home and out of home space. So if you look at other venue operators and retailers, they're debuting these owned media networks. And so we've really took a page out of their book and we said, Hey, we've got this updated experience, we have this traffic. How do we really bring this to partners in a big way? And so on the, I would say the tech solutions side, we've had some really strong relationships with Panasonic so that we've got media players in advertising solutions that are going to support the various types of advertisers locally, regionally, nationally. And then we most recently have a relationship with Vista Media, so we were able to integrate their supply side platform directly into that CMS.(06:44):So that gives us access to a wide array of advertisers, and they're coming straight through programmatic, so turnkey solution for those who are buying programmatic space. So we're seeing a lot of advertisers come through there. And then we've got some more strategic relationships in the entertainment space. Kids BOP is one of those. They've been a partner for many, many years. And in addition to some of the entertainment content, they've really leveraged these screens to advertise tours to localize and talk specifically to upcoming tours at a specific venue ahead of that. We've worked with the Harlem Globetrotters to do the same, and then we have a various CPG toy, again, family appropriate, parent appropriate that are really taking advantage of those screens. And then of course we're talking out of home, but I don't want to forget too that we also announced a partnership with Future Today.(07:33):And so in addition to having this opportunity around content in our venues, we also have this content online. So we've had a lot of this on YouTube and YouTube kids. We actually started putting our content there in 2012 and have been doing so in a more meaningful way in the past few years. And with this new relationship with Future Today, a leader in the CTV space, not only are we getting content on their Happy Kids channel and their network alongside the co melons and the Paw trolls, but in the future we're working towards launching our own streaming network. So Chuck E. Cheese branded Fast Channel, so ad supported, but again, leaning into the content and the IP and engaging those guests and those fans and then offering that opportunity to brand safe and family friendly advertisers.Ilyse Liffreing (08:17):I know Chuck E. Cheese has traditionally been mostly about the physical experience before all of this. I remember going there as a kid, my dad brought us there all the time growing up, and obviously that part of the business is not dying down at all. I'm curious how many screens you have at each of the 500 plus venues that will be part of this network.Melissa McLeanas (08:41):So every location has a video wall, and that's going to be the focal point of when you walk into Chuck E. Cheese and it's incredibly important. You really

Jenna Griffith, VP of global ad operations at PayPal, shares how the fintech giant is using shopper insights to power a new kind of media network.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

One year into her role as global CMO at Designer Shoe Warehouse (DSW), Sarah Crockett is reimagining how the legacy retailer shows up for today’s consumer — across 500 stores, an upgraded e-commerce experience and a newly expanded digital media mix. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Milk is back in the cultural conversation. Miranda Abney,  MilkPEP’s VP of marketing joined The Current Podcast to explain how a marathon for women helped boost milk’s messaging.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Firestone Walker Brewing Company’s CMO says connected TV has made it easier to reach its sports-loving customers. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian (00:01):I'm Damian Fowler.Ilyse (00:02):And I'm Ilyse Liffreing.Damian (00:03):This week we're really excited to talk with Dustin Hinz, the Chief marketing officer of Firestone Walker Brewing the craft brewery based in California.Ilyse (00:12):Dustin has been the chief marketer at Firestone for almost six years. He's an award-winning marketer who knows how to build a culturally relevant brand.Damian (00:21):Also, he's a musician and he helped build Guitar Center into that powerhouse brand It is today. He worked there for 17 years and you can ask any guitarist about Guitar Center and its Importance. And then he was an Ernie Ball music man, which is famous for its guitar strings, which I love. I'm curious though, Ilyse, do you play the guitar?Ilyse (00:40):I wish, but Okay. Damian, we're here to talk beer and how to market it in a crowded marketplace. So let's begin. So Dustin, can you tell us a little bit about Firestone and the brand 805? It seems it really has a West Coast vibe just like me. I'm from the West coast so I can see that. I feel it.Dustin (01:04):Firestone Walker is the culmination of David Walker and Adam Firestone's love for beer. And they met back in the nineties when David fell in love with Adam's sister and there's great stories about that. And then they found they had this mutual love for beer and the central coast of California. David being an expat in British and Adam being a Californian, they founded this amazing brewery on the central coast and really focused on just a few craft beers. DBA was their first beer and then Union Jack and there was a lot of craft was sort of an early movement. And then back in 2012 they stumbled upon this idea of 8 0 5 and 8 0 5 is the area code for the big swath of the Central coast, a big piece of California all the way down to Ventura County where actually I grew up. We like to say that the goal of 8 0 5 is to be the most globally recognized, regionally available beer in the world.Ilyse (02:03):Very cool. But there are a lot of beers out there, even craft beers. What would you say is the point of differentiation? Is it the taste? Is it the West coast vibes? What would you say?Dustin (02:15):I think the biggest point of differentiation in beer is the brand position. Obviously great brand position and great marketing is not going to solve a lousy product, so you got to have amazing product and we're trying to focus on being odds of the evens and really investing in our own legend and trying to stand for something and be the alternative choice. And thankfully beer is so big and there's so much opportunity that you can carve out a pretty nice size of the pie for yourself if you want to focus on being the alternative premium choice.Damian (02:43):One of things that you just said about the importance of marketing and how marketing can drive the business seems key to this. Is there anything that you could point us to that you'd say, this was the moment where I created brand awareness above and beyond or something like that?Dustin (03:05):The first one with the traditional 8 0 5, the black can I was very lucky to inherit five and a half years ago a slogan called Properly Chill and Properly Chill sort of was the slogan for this idea that life on the central coast was a little different, right? And what we did last year and then going into this year, and I believe that this is going to come out right around this new campaign is going to drop, is this idea telling the story of our brand through the lens of our customer. We have this amazing roster of ambassadors, we call them Authentico and eight oh five Authentico and Professional surfers, motocross Riders, boxers, MMA, fighters, artists, tattoo artists, you name it, it spans the spectrum. There's over 50 of them and they kind of cover every single different customer group that we believe the brand represents and we tell the story of that brand through those consumers or through those athletes.(04:06):And then a couple other examples were what we did was Summer of Cervesa when we launched the extension of 8 0 5, the first extension after 10 years, which was a Mexican lagger themed version of 8 0 5 with a little bit of lime in it. And the idea at the time was when you were looking at the marketplace, Mexican laggers were really on the rise. Corona obviously as an incredible background. Modelo has now at this point become the number one brand in the US surpassing Bud Light and Consumers were definitely reaching for this idea of sort of an escapism beer. So when we launched the campaign with summer survey, so we realized that we had to do something to stand out and create some differentiation between 8 0 5 blonde and 8 0 5. And so the 8 0 5 cervesa campaign was the first time we ever showed the product in color. 8 0 5 has been black and white since its inception in 2012. And with 8 0 5 Cervesa was the first time we ever put the product in color in the advertising. And it was a game changer. I mean, we sales went from moderately successful to up 20% pretty consistently because we were able to create that differentiation in the idea that Cervesa was a light and refreshing product.Damian (05:24):Wow, I love that just by adding color. But it is interesting that you started out in black and white as a kind of campaign. Why black and white?Dustin (05:32):I think they realized they needed to do something different to stand out back then. And trust me, it is a conversation pretty regularly when we're working on new ideas of, there is a lot of consternation around the idea of how do we maintain the brand identity and not stray from it because we want to be timeless, not timely. So we're very, very focused on, hey, every decision we make is going to have an impact a decade from now, two decades from now. Because the greatest brands in beer are multi-generational.Ilyse (06:02):Totally. And I know we talked about this earlier because it can be really difficult to market alcohol products, especially on platforms like social media where there are age roadblocks. What are the channels that you decided to lean into for these campaigns and are there any that you're experimenting with now?Dustin (06:24):I'd say at-home is a good third of our total media investment and then a big shift to TV about two years ago. And with connected TV platforms continuing to become more robust, it's made it a hell of a lot easier for us to get more geo-targeted because I think that spray and prey doesn't work when you're a regional brand and you want to get really focused on zip codes and you want to try to drive measurement. And so connected TV has been huge for us and whether that's through our partnerships with the World Surf League or we're just doing a sports our brand, what we know though is that from all of our consumer data is that a huge percentage of our customers are sports fans. They watch a lot of football, they watch a lot of baseball. So what we do is we take our brand to those channels and through partnerships like ESPN, we've been able to really connect with consumers and drive some really nice measurable lift for the brand. You're watching a sports game and you're going to see beer brand X or insurance brand X with an athlete for that sport. And then you see our spot, which might have a bull rider in it or a surfer or a motocross rider, and it just stands outIlyse (07:33):With your brands embrace of sports and kind of that measurement piece of CTV, you must love that more live sports are coming into the connected TV space.Dustin (07:47):I think the beneficiaries of this sort of democratization of content and it's making things more competitive. So as you see the Disney Network, Hulu, ESPN, or you go to YouTube TV and some of the other platforms that are continuing to open up, it makes it really easy to be competitive in the space or to at least have a voice. I think our team's been really good at identifying those opportunities, proving the efficacy of those investments so that we can continue to do them.Damian (08:15):You hinted at something about the seasonality of marketing and I'm kind of interested in that as a marketer of beer and I guess in lots of ways, as you said, you're kind of marketing lifestyle, you have associations with surfers and athletes and the summer. I'm curious how often you think about the need to refresh campaigns and how do you keep them relevant to the culture cultural moment?Dustin (08:42):Yeah, great question. You definitely have to, in beer, especially with the retail partners, you need to be seasonal. I spent the first 20 years of my career on the music side as a retailer, so I know what retailers want. They're going to want, Hey, it's Memorial Day, I'm going to have a display in my store for a week and a half, two weeks. It better fit the theme of Memorial Day. Now how you do that, you can do that without just stars and stripes. There's other ways to do that, but the I idea of escapism and patriotism to a degree, but when you look at the retail calendar, there are a myriad, there's like 16 major temples that you have to win. So our team is definitely working to make sure that we're taking the overall thematic of our brand and pulling that down into those temples.(09:33):And that fits the larger brand story because obviously you don't want to have 16 different TV spots throughout the year. So we'll have several different campaigns throughout the year, but then those drop down into Cinco de Mayo or Day of the Dead or 4th of July. So you have to, depending on the channel that we're in, yeah, some stuff has to be far more granular to make sure that it's serving the need of that retailer or the desire of that retailer, and as well as making sure that we're still maintaining the bra

Dow Jones CMO Sherry Weiss reveals the marketing strategy behind growing subscription businesses for publications like The Wall Street Journal.  Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio. Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse LiffreingDamian Fowler (00:02):And welcome to this edition of The Current Podcast.Ilyse Liffreing (00:09):This week we're delighted to talk with Sherry Weiss, the CMO of Dow Jones.Damian Fowler (00:14):And Sherry's responsible for growing Dow Jones' subscription business across the publisher's. Numerous business titles, which include the Wall Street Journal, Barron's, MarketWatch, and Investors Business Daily,Ilyse Liffreing (00:26):But that's not all. Sherry also heads up the brand and enterprise go-to-market strategy for Dow Jones Research and Newswire services like TibaDamian Fowler (00:35):In an era where publishers are facing many challenges to their business models. From the pullback of third party cookies to the advance of ai, Sherry gets into how the publishers answering back by building a subscription strategy.Ilyse Liffreing (00:48):We start off by talking about the Wall Street Journal's latest campaign.Sherry Weiss (00:56):So it's your business. It's not only our new campaign, but our new brand platform, which we launched in June of last year. A little bit about the history of how we got into this new platform. So our previous platform was Trust Your Decisions and I joined the organization about two and a half years ago. One of the first things that the team and I did at that point in time is really dive deeply into understanding our current and then our future growth audience needs. And when we were going through that research, one of the things that came out was the idea around trust and how that's table stakes(01:33):And what our audience are saying that's a given and kind of don't tell us to trust you, we will determine that. And so we realized that there was this need to speak a little bit differently to our future audiences and also to crack the code on what Wall Street Journal is. So Wall Street Journal is a storied brand, it's well known, but oftentimes we were seeing with our growth audiences that people did not think the journal applied to them. And in all of our customer research, what we were beginning to piece together is the folks that read the journal and folks that we believe are our editorial content applies to. They have a lot of similarities underlying them. They're all ambitious, they want to be knowledgeable, they're quite intellectual, but they may be in different stages of their career. And so part of what we needed to do with this brand platform was help bridge the gap is to explain to our future audiences why the journalist for them.(02:31):And the other thing that's interesting about this campaign is that it's the first time in quite some time that we truly leaned into the journalism, our actual core product. And in that campaign we brought out specific articles into the actual campaign and balance those articles between things that you would expect the journal to write about and things that you would not expect us to write about. And a really good example is that we had an article around folks that were becoming lifelong renters and those were decisions that they were making. And so one of our headlines leaned into that. Another one was around make hotdog economics your business when you talk about food and inflation. And that was showing up in a hot dog truck. And the great thing there is it killed two burns with one stone because we were able to go loud with an awareness campaign, but it also enabled us a way to drive back to sampling. And in all of our campaigns we had QR codes, it actually drove back to the original article and that was quite successful.Damian Fowler (03:38):That's really fascinating. One of the things before we get into what you learned from this campaign, how did you identify where those potentially net new audiences readers were coming from? You say you have this core group of people who are interested in business, but then you have people who are kind of adjacent to it but also interested in business. I'm just curious, how did you think about that and how did you sort of build that into your strategy?Sherry Weiss (04:06):Sure. So everything we do is data-based and customer reader first. So as part of this re-looking at our platform, we did a deep audience study and within that audience study we went out obviously across the market around news readers who are willing to pay and really started having deep conversations, both qualitative as well as quantitative research into what people are looking for and also finding common threads around attitudes and life point of views. And what we found was we have a really core group of readers tried and true folks that you would expect over index more into investing and working on Wall Street and more of your traditional business folks, but business expands so much more than that. And what we were finding is that there were a deep growth area where there are people who are outside of what we would say are our traditional professions, marketing, consulting, government actually that have, they are interested in the type of content that we write, they just may not be aware that we're writing it. And again, as I mentioned, we're also looking at our audiences that it's not so much around your profession or where you live, but the attitudes in which you hold in common, right? So your desire to be well-informed, your ambition to get ahead in whatever way you want to get ahead, they all have that in common. And so that's really how we started crafting the growth audiences. And then obviously within that with the research we gleaned a lot of information on where they're engaging and that's where we would go out to find in marketing. Interesting.Ilyse Liffreing (05:51):Now you said the first phase of the campaign started in June and I remember going to the Wall Street Journal house in Canon, seeing that all over the place there, what other areas did the campaign come to life in that aspect besides maybe the articles?Sherry Weiss (06:09):Sure. It's interesting because again, all of everything really in the campaign, everything that we put forth had an article that was underlying it. But the cool thing about it is that you could do what you would call traditional marketing. So display on social out of home, we did a Penn Station takeover, but you could also, we were able to leverage this campaign to make it more experiential as well. So as you mentioned, we had the Wall Street Journal, cafe A can. If anybody listening was in there, you probably saw there were things like our salt and pepper shakers and on there had QR codes that had, I can't remember the article that we raised there, but it drove back to an article that had something to do with salt and pepper on the menu. Everything had a article that was associated to it. And so there was an article that we were featuring Make Sleep, divorce Your Business, and we were able to put that above a space that was a mattress store, make EV economics your business, and we would take out space in charging stations so you could take the content that we write about, which is so embedded in every day, build it into the context in which a potential reader is engaging and that actually cracks the code, right?(07:24):It's your business. It's so much more than stock trading or what's happening in banking these days.Ilyse Liffreing (07:31):Yeah, it's everywhere.Sherry Weiss (07:32):Yeah, exactly.Damian Fowler (07:33):And you're sort of changing perceptionSherry Weiss (07:35):OfDamian Fowler (07:35):The paper.Sherry Weiss (07:36):Yes, definitely.Damian Fowler (07:37):And now obviously the Wall Street Journal is one of several publications that you manage. I guess it's maybe the vanguard of the Dow Jones Business publications, but you have many other prestige publications like Barron's Investors Business Daily, which is probably more niche for people actually on the front lines of business. When you think about the whole portfolio, are there crossover audiences or are they distinct audiences?Sherry Weiss (08:04):I mean, the short answer is yes and yes. So the nice thing is, as you had mentioned, we have a four premier consumer publications, wall Street Journal, Barron's, MarketWatch, IBD, all of them in one way, shape or form is journalism with a business lens. But each one provides a different take on an issue or a topic and serves a different purpose. And you mentioned IBD, right? IBD is really focused on helping people make decisions on trading in growth stocks. And it's not just about information but tools that investors can use. And so we believe that there are, again, taking an audience first approach, there are audiences that fit squarely into each one of those publications but may not overlap. But we also believe that there are audiences that would find value across all of our publications. And interestingly enough, we had done some testing into this over the last two years, really more so from a marketing offer.(09:10):What happens if you bring somebody on with an introductory subscription offer to a variety of our publications? And we found that number one, people were opting into it at really high take rates. We also found that once they were on this proposition, people were reading actively across our publications were very engaged and increased engagement over standalone and retain better. And so we've now made this into a true proposition WSJ Plus, and this is just the beginning, but basically we target very specific audiences who are investors who are hungry for knowledge from all different angles, and WSJ Plus is a platform that enables them to do that.Damian Fowler (09:56):What was the kind of goal there? In a way,Sherry Weiss (09:58):The ma

Stellantis’ CMO Raj Register talks about building consistent storytelling across channels, what she’s learning from AI and why she’s obsessed with connecting marketing action to tangible business outcomes. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Current Podcast.Ilyse Liffreing (00:09):This week we're delighted to talk with Raj Register, the Senior Vice President and CMO for North America at Stellantis, one of the biggest names in the global auto industry.Damian Fowler (00:19):That's right. Stellantis is the powerhouse behind iconic brands like Jeep, Dodge, Ram, Chrysler, and so many more.Ilyse Liffreing (00:26):And as our North American fans may be well aware, stellantis just ran off one but two high profile spots at the Super Bowl in February, both featuring major celebs,Damian Fowler (00:37):Glenn Powell as Goldlock in the Ram Super Bowl commercial, and Harrison Ford who rarely appears in ads starring in the Jeep commercial.Ilyse Liffreing (00:45):Let's get started.Damian Fowler (00:51):The first thing I want to ask you, Raj, is how did it all come together?Raj Register (00:55):Yeah, that's a great question and not the most straightforward way that many would think. So at Stellantis we have something called a jump ball. And Jump ball basically means that we curate several agencies and we allow them to pitch and based on the pitch how we brief them and whoever comes up with the best idea pretty much wins the business. So for this past Super Bowl, we spoke to around 35 plus agencies and we were able to round them out to the best two, one for Ram, one for Jeep. So we go through several rounds of creative, we determine what's the best story, how does it really relate to our business? And from my perspective it was what's the best creative outside of that? Then what's the best thing that will help give us more runway past the Super Bowl? So outside of the creative is the business aspect and how are we going to perform and make sure that it delivers upon all of our goals.Damian Fowler (01:56):Now everyone knows, I guess at this point that the Super Bowl ad spot is one of the most coveted in the world and one of the most pricey I suppose. But wanted to ask you why was it important for Stellantis? I mean, you're the only order maker as I understand it, to have a spot during the game this year. Why was it important for you?Raj Register (02:14):There's a lot of dialogue around why were we the only one. I saw it as an incredible opportunity for us to be auto exclusive. When do you get to do that? During Super Bowl? It was really important for us to show up, not only to show that we're here, not only are we American born and we are proud of our brands, but when we think of everything we have to offer to our consumers, we wanted to leverage this as an opportunity to tell that story and give them an indication of who we are. And it was almost like a reintroduction back to America as well as supporting our UAW workers, supporting our dealers, supporting our employees. So I think it was a rally cry for us to just let everyone know that we're here and we're here to stay.Ilyse Liffreing (02:58):That's awesome. And such terrific actors in both of the commercials, Glenn Powell and Harrison Ford, and I feel like they speak to definitely different generations obviously of fans and types of moviegoers potentially. What were the main challenges of securing the talents?Raj Register (03:16):Gosh, so Glenn Powell, so we already have an established relationship with him for Ram. He did a really nice job with us for our integration that we had with Twisters. And so for him it was more of a natural fit. He has this serious nature, but he's also very funny. And so when we came up with the idea of Cody Lakson the Three Bears and using that old American fairytale to help bring to life something really cool and unique glim, I mean it was like a no-brainer, like let's extend this relationship because he's easy to work with, but then also he brings a lot to the table to help us with bringing things to life. So he was very involved with making sure that our script and how things showed up were authentic to him. But then also because he knows us as a brand, he knew certain things to lean into.(04:03):So he was a really good partner in that way. Harrison Ford was a lot more difficult for us to secure. So quite frankly, and if you've looked at any of the behind the scenes that were done, Harrison talked about his first answer was No, Olivier and a group of us went back and he started with a different script, one that paid homage to Harrison Ford, but then also related to us as a brand and the freedom of America. And so once we were able to align on the idea and have a script that Harrison actually reacted to in a positive way, he actually reviewed it with his wife and she said, now that's good. Then it was a matter of, okay, well who's the director who could work with him and make sure that this comes to life in the way that he's proud of as well as us? We tap James Mango and that was incredible. So they already have a really good relationship. Mango did four versus Ferrari, so he has this really extensive background in movies, but for commercials, this was, I believe it was his first one. And so just balancing the star power of Harrison, Mangold and Olivier, it was like the trifecta of greatness I would say. But it took a while for us to get to where we needed to be. We shot our Super Bowl at three weeks before,Ilyse Liffreing (05:24):Which that is a tight turnaround.Raj Register (05:27):It's a lot of pressure, but being on set and getting everything together, Harrison was amazing, but that one was definitely a day by day, how are we going to get this done? And just making sure that he felt comfortable with the commercial and it came out better than I could have expected. But that one definitely was a challenge, but in a good way.Damian Fowler (05:48):And it's interesting to note that Harrison rarely does commercials, so it was an amazing coup for you to getIlyse Liffreing (05:53):Him. Totally. And yeah, it's great that it came, but it's also a great example of the brand campaign overall because it's the power of choice and why was this the right message for the moment?Raj Register (06:08):Yeah, so just to clarify, so power of choice was our Ram ad and freedom of choice was our G ad. And so the reason why we chose those bookends of power and freedom one is it's the breadth and the quilt of America being able to make a choice and be happy and stand up for whatever it is that you want or whatever you believe in. The other part was is as we think about the way the automotive business is changing, there's a lot of energy around what type of vehicle should you choose? And our stance at Stellantis is, one, we want you to love our brands and our vehicles first, and then you make a choice as far as what platform or what energy you want. In both commercials we were able to highlight our ice vehicles, which is our gas hybrid and all electric.(07:04):With that being said, it's hey, making a choice should be fun. There's a lot of negative feedback around Bev versus not, or should you have a gas vehicle versus not. And for us it's you have the freedom or power to choose the vehicle that's best for you, and we want to make sure that you make a choice with us and giving customers the education of we are a company for a person like you and we just want you to choose with us. And so that was the premise of it and we were able to do it on one end very humorously. And the other was more around the freedom and pride of being American and being able to make a decision for yourself.Damian Fowler (07:43):Now, one of the most interesting things about the Super Bowl this year was that it was also streamed on Tubi, which is Fox's fast channel. And I wanted to get into this in terms of the campaign. How did you think about and come up with a digital strategy around that that goes beyond the second quarter ad?Raj Register (08:03):Yeah, so I'll just say even for the day of, it was interesting because being at Super Bowl, I got a chance to see what was happening on the two B app and really being able to just see the integration and being able to not only see our ad live, but also our halftime show. So that was incredible to see live TV while you're on the spot because it's a different experience. What consumers see at home is not the same as what you see in the stadium. The important thing for us was leveraging all opportunities from TV to streaming to social, to tell a complete story. And we want it to be just, okay, here's the TV spot and move on. How can we leverage other avenues to make sure that our story is getting out there and then continuing the story with our consumers or those that are interested in learning more. Yeah, there's a group that are watching on TV or in a environment where they're in a sports bar or something like that, but you also have these other group of customers that are watching on their phones. And so that's why it was important for us to leverage all avenues and all media channels to make sure that our collective 360 story was getting out there.Ilyse Liffreing (09:11):Totally. Did you know that it was going to be streamed on Tubi when you first made the buy?Raj Register (09:17):No, we didn't. And so I learned when I was in the suite with Fox Sports, and so they came and said, Raj, you can see everything live and here's how everything works. And so I had everything set up and it was really nice to see. So I was trying to balance be here in the moment, but then I was enthralled by Tubi and so throughout breaks and things like that, I was very much so engaged. So it was a surprise and delight for me and something that I'll definitely

At SXSW, The Current Podcast partnered with The Female Quotient to spotlight trailblazing women in media and marketing to mark International Women’s Day and Women’s History Month.In this episode, we sit down with Andrea Gilman, chief marketing officer at Early Warning, owner of digital payments services Paze and Zelle, to discuss how she’s driving innovation in digital payments.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

At SXSW, The Current Podcast partnered with The Female Quotient to spotlight trailblazing women in media and marketing to mark International Women’s Day and Women’s History Month.In this episode, we sit down with Melissa Giordano, chief client officer at CMI Media Group, to discuss how AI, data, and personalized messaging are reshaping healthcare marketing. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.