There has been a lot of hot air surrounding recent advertising controversies – but, beyond the guff, there might also be valuable lessons for employers.
In the wake of #metoo and TimesUp, we have seen an increase in advertising campaigns focused on supporting progressive social change. The release of Gillette’s latest advert followed in the footsteps of Nike’s 2018 campaign faced by Colin Kaepernick: “Believe in something. Even if it means sacrificing everything.” Nike’s ‘sacrifice’ amounted to
It is slick programming by ITV to have Noel Edmonds featuring in this year’s I’m a Celebrity….. Why? Because the phrase “Deal or No Deal” is suddenly assuming a sickening relevance. And on December 11th, two days after Celebrity… reaches its climax, MPs will vote on whether to accept or reject the withdrawal agreement the government has agreed.
Let’s be clear: the deal is problematic. Its description of future trading arrangements is necessarily scant, due to the EU’s insistence that those cannot be discussed until after the Brexit deal has been struck; the Northern Ireland backstop plan is imperfect (though overblown by trumpeting politicians); and, yes, the
After the Cambridge Analytica scandal earlier in the year, you’d expect that platforms like Facebook would be rather more careful about how it exploits user data. Research has shown that consumer concerns over misuse of user data is one of the primary reasons why people choose to use ad blockers, and since user data is effectively the commodity on which the platforms operate, any further scandals are likely to have a cooling affect on their business models. Earlier this month a study from Pivotal Research Group found that people were spending less time across Facebook’s platforms (though it couldn’t say if that was specifically due to associaion with Cambridge Analytica).
Unfortunately Facebook has now been implicated in yet another potential misuse of user data: It registered a patent that uses geolocation to provide friend recommendations to people who are physically close to you. Or, as Lisa Vaas put it for Naked Security, “Facebook wants to reveal your name to the weirdo standing next to you.”
For some time now, commentators have been noting the wave of change finally brought around regarding female representation in the creative industries, including us in our blog on #metoo. On our screens, this has been playing out with the notable increase in women in prominent roles: Claudia Winkleman and Tess Daly made the first prime time female presenting duo in 2014, and this year Jodie Whittaker became our first female Doctor Who.
This change is starting to be seen behind the scenes as well. Of 201 men who have lost their jobs following accusations of sexual harassment in the past year, 43% of those who have been replaced have been replaced by women. The NYT has put together a handy list. But has enough been done? How far do we still have to go?
Well, only 36% of jobs in the creative sector are currently filled by women. At a senior level women are even less represented, making up only 11% of Creative Directors or equivalent across the sector. In TV, only 17% of output in a recent survey was helmed by female directors. This
No doubt you’ll have seen the latest Facebook controversy (no, not that one): the social network didn’t let news publishers know about a bug that discounted people who watched less than three seconds of video, thereby artificially increasing the statistics around how long people were consuming videos on average. As a result, some people are claiming that Facebook effectively created the pivot to video that saw newspapers and magazines shed tons of editorial roles in favour of video teams, to cater for this new audience demand for video content. Some are even suing Zuckerberg’s brainchild over it.
Due to all the broken promises and missed expectations that came with news publishers’ rush into video, it’s easy to forget that the reasons behind the drive to produce more digital video were sound: consumers are viewing ever more video online across OTT services like Netflix, user-generated-content platforms like YouTube, and livestreaming sites like Twitch. Even if the figures around view time were skewed, the trend is undeniable – one of the worst affected companies, Mic, even claims that the inflated metrics weren’t even a consideration in their own change towards digital video.
It seems increasingly likely that Jamal Khashoggi met his death in the Saudi embassy in Istanbul. It also seems likely that what brought about the journalist’s torture and murder was his antipathetic coverage of the Saudi regime. And it seems likely that the Saudi regime felt empowered to act with impunity because of the pusillanimity of the international community.
Since 1990, more than 2,500 accredited journalists have been killed around the world for carrying out their work. Some of these cases are high profile: Khashoggi, Daphne Caruana Galicia in Malta, Marie Colvin in Syria, Terry Lloyd in Iraq, Martin O’Hagan in Northern Ireland, and on, and on. All are tragedies. But the vast majority go below the radar. And even those high profile cases have rarely been met with appropriate sanctions.
When did journalists’ lives become so insignificant? Sadly, it is not a new phenomenon. Reuters keeps an “In Memoriam” book, which commemorates those journalists
According to the headlines (and backed up by recent studies) millennials are killing industries: the divorce industry, the diamond industry, and the oil industry, to name a few. For young consumers, it is appears that ethics trumps other concerns when looking for brands to support. This impacts where they invest, what they watch and where they work, with 14% of millennials saying they would not want to work in the oil and gas industry, the highest of any sector.
Nike’s Colin Kaepernick campaign saw a 3% dip in its share price, which would initially appear to be a red flag for the brand. However, a closer look reveals
Newspapers’ influence is often measured by the number of people its articles reach. You see it in everything from the prominence given to circulation figures, or the raw addressable audience that is afforded by the platforms on which they exist. But the purpose of the fourth estate has to been to hold power in check – and arguably it has been failing in that mission over the past two years. Journalism is reaching more people than ever before, but it’s having less impact than ever.
It’s an issue that’s felt more acutely in local media. The director of local news group the Bureau Local Megan Lucera said: “We’re not hearing stories on the ground. Issues were not being raised at a national level. It came down to a wider identity crisis for news… and local journalism has taken a particular hit.”
However, it’s also true at a national level. Two stories that broke about the purpose of journalism this week brought that dichotomy into stark focus. The first – the left-leaning Observer publishing an op-ed from the UK prime minster Theresa May – was
This week the long-running saga of who will take ownership of Sky has reached a definitive conclusion, with US-based Comcast splurging billions for control of the London-listed pay-TV provider. The battle for the company had been waged for long months between Comcast and Twentieth Century Fox, both of which saw in Sky opportunities to fortify their foothold in a highly competitive market.
So why would the two compete and, ultimately, why would Comcast buy Sky? £17.28 a share (plus £30.6bn in equity) is a huge amount of money for what is effectively a pay-TV company that exists primarily in a saturated market, so what does its purchase add to the business, and how will it change the market?
Fox/Disney throwing in the towel. Selling its 39pc of Sky to Comcast at the offer price.
— Chris Williams (@cg_williams) September 26, 2018
It had been argued that Comcast was the better fit in terms of synergies, with both companies simultaneously offering both content packages and internet/communications infrastructure – but it appears to have been the former that convinced Comcast execs to up their bid for Sky. That in turn led Fox to ‘throw in the towel’ and admit defeat, its ambitions to own the European pay-TV market abandoned.
This week saw credible rumours of the closure of the Glamour magazine brand in the US. For those that knew it (or had at least seen its marketing material) Glamour was the luxury lifestyle brand, perfectly pitched at people who needed expertly curated product recommendations and interviews with today’s most relevant celebrities. This, of course, was also the pitch for many of its contemporaries and, regardless of which title was your particular favourite, that led to issues surrounding differentiation in a shrinking marketplace. Its decision to transition from a print-led to a digital-only title is, in part, to escape that shrinking space, but the danger is that online lifestyle content is an even more crowded space.
Last week also saw the effective closure of The Outline. The Outline was a two-year old digital culture publisher that had a strong brand, a memorable visual identity and had seemingly been doing well, having raised $5.51 million in VC funding in May of this year, putting it
Media has always been a tech-driven business, exploiting, over centuries, the development of papyrus, paper, printing, radio, TV and the World Wide Web. The key to each of these revolutionary technologies is that they made the distribution of content fundamentally easier.
While content is the bedrock on which media companies are built, the adage that ‘context is king’ is undeniably true. It doesn’t matter if you’ve invested in an award-winning team of journalists, or that you’ve spent millions on a world-altering piece of data journalism if nobody sees it and it doesn’t benefit your bottom line. The problem is that when there is so much content, so widely distributed, it’s tough to find your audience.
Media companies have been investing huge amounts in building or licensing proprietary tech solutions in order to counter those pitfalls. News UK, for instance, is approaching the end of a trial of a new tech solution designed to reduce subscriber churn as it tacitly admits it cannot grow subscriber numbers forever, while Schibsted is investing in a new techstack across its many titles which allows for greater personalisation and the surfacing of content relevant to its audience.
The same technology that can be used to tailor content to individual users can also be used to deliver more targeted advertising, which is seen as one way to avoid the race-to-the-bottom nature of most digital display advertising.
Additionally, as the push for more ecommerce revenue continues in the face of squeezed display ad spend, publishers are finding they have to invest significantly in the tech and skills behind such transactions. Writing for Digiday, Max Willens points out that where ecommerce retailers are unwilling or unable to share data on transactions, it’s often up to the publishers themselves to make up that deficiency:
The entrepreneurs behind the imaginatively-named NewTV, Jeffrey Katzenberg and Meg Whitman, will be feeling encouraged by their recent round of investment having closed at $1bn. The service promises entertainment providers an avenue onto the world’s billions of smartphones, being specifically designed for mobile use with short-form series of 10-minute episodes. And it seems they have Hollywood and Wall Street convinced, according to Variety:
“Backers include a who’s who of Hollywood studios: Disney, 21st Century Fox, NBCUniversal, Sony Pictures Entertainment, Viacom, AT&T’s WarnerMedia (formerly Time Warner Inc.), Lionsgate, MGM, ITV and Entertainment One. Tech investors include Chinese internet giant Alibaba Group; strategic investors include VC firm Madrone Capital Partners, which led the round, along with Goldman Sachs, JPMorgan Chase & Co. and John Malone’s Liberty Global. The funding officially closed July 31.”
Encouraging, sure. But will it really be enough for to penetrate an already saturated market where similar offerings have since failed? Securing $1 billion from such famous brands is no mean feat but
The Ofcom Communications Market Report is a pretty good bellwether of changing consumer habits. And, like boats reacting to the tide, those changing habits dictate how media companies will act over the next few years, as they change their priorities to benefit from shifting audience attention.
Here are three key takeaways from the latest report that shine a light on where media companies will lie over the next few years.
The UK’s newspaper industry has hit a major milestone – but it’s not a particularly positive one. For the fourth consecutive month in a row every single one of the UK’s leading print titles has seen print declines, with the majority of those titles seeing double-digital YOY falls in circulation. Even The Sun, with a circulation that is somewhat bolstered by bulk copies, saw a 7.6 percent drop in its circulation to 1.45 million copies, meaning that not a single paid-for newspaper in the UK now has a circulation over 1.5 million.
It’s the latest piece of bad news for the industry, though an expected one: Nobody expects print circulations to suddenly leap back up to pre-internet levels, or even to remain static. The danger, however, is that print revenue from advertising won’t have the slow tail-off that circulations are having. The analyst Clay Shirky has predicted a second cliff for print revenue once circulations pass a psychologically important milestone and advertisers stop seeing print as a valuable medium in terms of ROI. Given how important print revenue is for those titles – making up the lion’s share of even the titles with huge digital audiences like the Daily Mail – that would be disastrous. Consequently, time might be running out for some of those papers who haven’t made enough of a transition to new revenue strands.
Having only recently recovered from the GDPR frenzy which gripped the continent in May, some media companies will be feeling relieved that the European Parliament last week sent controversial copyright reforms back to the drawing board. The proposed legislation included Article 11, which would require online platforms – search engines, news aggregators, etc. – to pay publications if they link to them. Article 13 meanwhile would have made copyright enforcement the responsibility of online service providers, and asked them to use content recognition technology to censor material at the point of upload.
Over the past few years, we’ve witnessed an increasing inclination from the EU and its member states to privatise tasks which many believe should be undertaken by the police and courts of the respective state. As with the censorship of online hate speech, the ongoing debate has centred around just who ought to be arbiter of these laws – i.e. humans or machines. The trouble is that
Regulation and technological advances threaten many industries: just ask high street bookmakers. But the simultaneous combination of GDPR and the promotion of ad-blocking technologies by the likes of Google and Microsoft is worrying for digital media businesses.
At the same time, ad-blocking has never truly gone away as an issue for publishers. It often gets swept aside by seemingly larger issues like the Duopoly or rampant fraud, but it’s always there in the background, eating into publishers’ digital revenue potential.
It’s come back into view over the past few days after Microsoft announced that its mobile Edge browser for iOS and Android would have an ad-blocker installed by default, perhaps anticipating that post-GDPR audiences will be more savvy about their digital rights. The Verge reports that the feature – currently in beta – is set to be made available more widely and, crucially, won’t require any extra downloads to be used. Microsoft are making it as easy as humanly possible for their users to block ads, using the existing infrastructure of Adblock Plus – and that’s got publishers worried.
With the news that Facebook is betting upon news video to help grow its Watch platform, there has been a fundamental shift in the economics of video news production. Where once entertainment content was used to attract customers and audiences, against whom the broadcasters could sell adverts, the nature of video content has become somewhat flattened and undifferentiated.
That’s due to any number of things – unbundling, the rise of on-demand digital video on YouTube, Twitch and Facebook, and the overall conflation of ‘news’ and ‘entertainment’ that has come with homegrown news and analysis on those platforms.
The outgoing President of the CBI has caused a small storm by saying that parts of British industry could become “extinct” unless a proper Brexit deal – including membership of the customs union, the CBI’s preferred approach – is negotiated.
This has attracted the usual binary comments in the media: the ‘we told you so’ from the Remain camp, and the tedious charges of treason from Leave supporters.
But Paul Drechsler’s interview was actually quite nuanced. There was very little that people of either viewpoint could disagree with: he contended that the debates had been ruled by politics rather than economics; that the uncertainty in government was having a knock-on effect to business, making it difficult to make investment decisions; and that the UK’s economy is growing slower than most of its competitors as a result.
These are pretty much incontestable observations. Growth in the British economy is
Readers of Digiday may have noticed an interview with Martin, talking about media’s shift towards subscription-based services. Many of the arguments in there will be familiar to regular readers of this blog. It confirms a recent trend we’ve been following – as Google and Facebook continue to hoover up the vast majority of online advertising spend, media companies are increasingly looking to online subscriptions to grow revenues.
Of course, one area of media that worked this out a long time ago is B2B media. High-value subscription-based business information is a sector we expect to continue growing, and the amount of high-level M&A activity in the sector would appear to confirm that. Earlier this year Blackstone agreed to take a majority stake in Thomson Reuters’ Financial & Risk business for over £17bn. IHS Markit followed up a successful merger by agreeing to buy Ipreo in a $1.86bn deal. Our client, Argus Media, was last year acquired by
With PlayStation and Nintendo holding most of the cards when it comes to popular video game exclusives, people have not only been questioning the worth of owning an Xbox, but whether there was any point in Microsoft making another one. So, all eyes were on Microsoft’s E3 conference last night. Some considered it a do or die
Those of you who are regular readers of our blogs may well have picked up that we are exactly the kind of hand-wringing, politically-correct, liberal-minded multiculturalists that the Daily Mail despises.
So the decision of Paul Dacre to step down as Editor of the Daily Mail might be seen as a cause for celebration to people like us. Certainly, anything that tones down the constant divisive tub-thumping would be welcome: the country is as divided as it has ever been, and needs less hateful rhetoric.
But you might also know that we constantly
Time Inc. UK, the publisher of some of the most well-known magazine brands in the world, is changing its name (again). The company is incorporating its current name and its former name – IPC Media – to create TI Media, a decision that was made to honour its past as it looks to the future, according to its executive chairman Sir Bernard Gray:
“As a company, TI Media is proud of its past and confident of the future. Our new name opens the next chapter of our story with familiarity and new energy.”
So far, so similar to the rhetoric around other brand name changes. What makes TI Media’s new name notable is that it strips away the historic association with magazines that both the Time Inc. and IPC brands had in spades.
Everyone knows by now that the broadcast business model has been fundamentally altered by the rise of digital streaming. Digital ad-spend has overtaken TV ad-spend in the US and UK, and by many accounts US television ad-spend is in a state of permanent recession (it is expected to bounce back slightly in the UK).
More than that, though, over-the-top (OTT) services have disassembled the bundles upon which lucrative television deals were built. Sports content, for instance, was once the foundation upon which most cable and satellite bundles were built, in what Stratechery’s Ben Thompson called last year as “the last pillar to crumble” in the traditional pay-TV model.
But OTT services, and people’s expectations about on-demand media, have finally reached that pillar: Among all the many skinny bundles that don’t include sports, there are individual subscription services like the WWE Network, and even efforts to create the ‘Netflix for sports’. The Guardian reports:
It’s not enough for media businesses to be a one-trick pony any more. Outside of the rare Nordic publishers who got into online classifieds early, there are few companies of significant scale who can sustain themselves only through advertising.
While some have gone the business information route, like Skift and other companies in high-value verticals like travel or fashion, an increasing number of media companies are placing their faith in e-commerce.
Put simply, organisations like BuzzFeed and Refinery29 are betting on the relationship with readers and ecosystems they’ve created on their own sites to sell products. There are a number of ways publishers are going about that, whether it’s
Can you name the website that receives the most hits in the UK after Google, YouTube and Facebook? Clue: it’s not the BBC, Amazon or Wikipedia. It is Reddit. On average, people also spend more time on Reddit than any other website in the top fifty.
The dangers of social media are a hot topic at the moment. Whilst the pros and perils of Facebook, Instagram and Snapchat are openly discussed, less commonly mentioned are the so-called ‘hidden’ forums like Reddit, Voat and 4Chan.
The hidden internet is creating safe space for people to express opinions they would not feel comfortable discussing in real life and risking real life relationships. They can help previously
With all the noise from Google and Facebook over projects to help fund journalism, from the Digital News Initiative to Facebook’s forays into funding local journalism, you might think that those giants are finally putting their weight behind an industry that they’ve been accused of undermining.
Similarly, as publishers abandon scale in pursuit of subscription models, you can easily believe that news publishers and search and social giants are no longer in direct competition for ad money and that therefore the lopsided competition between the two is at an end.
Both of those statements are true, to an extent. Google and Facebook are
We have long argued that the games industry should be treated as seriously as those other pillars of the entertainment business, film and music. Government seems to be getting the message, and – as we reported last month – the figures certainly stack up.
But perhaps the BBC is still struggling with the idea of games as a grown-up industry in its own right. When the industry does get coverage (on the Today show, for example), the presenters are typically as well informed as, say, a US senator facing a Facebook Chief Executive.
And then there was last week’s broadcast of the BAFTA Games Awards ceremony. If there is one thing
Last week it was reported that Rupert Murdoch, as part of his attempt to buy 100% of Sky, may attempt to sell Sky News to Disney in order to keep regulators happy. It has subsequently emerged that Disney may have to bid for the entirety of Sky if the Competition and Markets Authority quashes Murdoch’s bid. While the debate in this country has focused predominantly on Murdoch’s endgame, relatively little attention has been paid to what Disney would be looking to gain here.
Disney’s ambitions highlight several trends within the wider TV sector; they appear to be realising the hitherto missed tricks of traditional broadcasters when staving off the ‘threat’ of SVOD providers such as Netflix and Amazon. And they have plenty of reason to do so.
During the first quarter of this year, FierceCable reported, “Disney’s media networks operating income fell 12% to $1.2 billion due to sagging performance by Hulu [reported as equity], A+E and the broadcasting segment.” Pay-TV has generally found itself lagging behind
George Orwell wrote that jargon and obfuscating language contributes to the degradation of the English language to the point that meaningful dialogue is impossible.
He might have had a point, too: The term ‘fake news’, which the Reuters Institute recommended should be stripped from conversation around online misinformation, was meaningless almost as soon as it was born, allowing it to be hijacked by politicians with an anti-media bent. One of the people who coined it, BuzzFeed’s Craig Silverman, has admitted culpability in that (though he can’t really be blamed for not predicting how it was to be co-opted), and I’ve been arguing it should be retired as a term since August of last year. Because it was jargon, ‘fake news’ has made discourse about misinformation impossible.
New report, published today by @EU_Commission High Level Group on disinformation, contains: “a clear and unequivocal abandonment of the term ‘fake news’. @rasmus_kleis #fake #news https://t.co/UbKwHmW2x8
— Reuters Institute (@risj_oxford) March 12, 2018
‘Millennial’, too, has drawn ire as being completely useless as a description of an entire generation’s habits and trends. It has led to
When news broke last week that Express Newspapers and its titles the Daily Express, the Daily Star and their Sunday editions were back up for sale, the sense I had was that the other shoe had finally dropped. The only linked buyer, Trinity Mirror, had been in talks with Richard Desmond’s media empire-ette about the acquisition three years ago, only for the discussions to collapse over a dispute about pensions.
Although a Trinity Mirror spokesman hedged about the exact date the £127m takeover bid would go through, saying “there’s still some way to go. This is not yet a done deal”, the reality is that those titles, plus celebrity title OK! magazine, will almost certainly be helping to prop up Trinity Mirror’s business very shortly (Friday if you believe the reports). There’s too much synergy between the two companies’ strengths and their needs for it to be otherwise.
Trinity Mirror (which happens to also be in the news this week for another, less savoury reason) still needs to make savings. At the same time it is very keen to expand its portfolio and create a genuine national-to-local appeal to advertisers, as can be seen by its acquisition of regional newspaper group Local World. And just as with Local World, a big part of the appeal of the Northern & Shell assets is that it can conduct significant backroom synergy while retaining the coverage and scale.