Teressa Iezzi

What can publishers do to reap the benefits of this year's election season? This recap from last week's AdMonsters Ops session with The Daily Beast and Advance Local reveals this and more. Check it out 👇

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Brit Morin, Jessica E. Lessin, Sam Lessin and Dave Morin had a really interesting conversation on a podcast this week about media businesses, the tribulations of the The Washington Post and how it's losing piles of money and subs. The discussion dipped into something Chris Anderson coined 20 years ago, perhaps before their time, called "long tail" content. Essentially his thesis called on creators to hyper-focus only on their niche, becoming the expert in hacking heat pumps or the best practices of dog grooming. Now, I'm one of those always looking to appeal to the broadest audience possible so naturally I've pushed against this framework, considering it too limiting. Then I met and worked under Robert Allbritton at POLITICO, where in spite of many in the company not on board with the philosophy, he talked about starting the company to deliver value to a sliver of the audience: those most powerful in the halls of government and soup of politics (and charge significant money for it). Needless to say it was a winning approach, because it's unlikely Axel Springer paid a billion dollars a few years ago for the ad-supported general news side of the house - as terrific as that content is. It was the subscription "Pro" product that overdelivered to that wonky sliver. And while the chatters on the pod did not say so, a similar strategy could well work for the Post: Turn 80% of the operation toward finding a little white space in the "political and policy makers" space, and become an absolute authority there ... and then, of course, license all that to the LLMs ;-) (But that's a story for another post.)

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Once upon a time, I was data drunk. Numbers were my whiskey, ROI my rum. The spreadsheet was my speakeasy. But the hangover was brutal. Here's how I cured my metrics-obsessed addiction to start making brand impact. And how you can too (if you're ready to sober up…) First, let's Tackle the Emotions: Close your eyes and ask yourself, "What's the first emotion I feel when thinking about prioritizing long-term cultural impact over immediate, measurable results?" Excited? Terrified? Nauseous? Vertigo. Stay with me. The truth will kick in. What's the old story or thought attached to that anxiety? For me, it was: "What if I can't justify my strategies without immediate ROI? Will clients think I'm ineffective?" Now, let's replace that with a truth antidote: By focusing on cultural relevance and impact, you'll create enduring brand value that transcends quarterly metrics. Embrace the new story with a shot of realism: Take this example back to the boardroom or your next Loom video: Activewear brand Girlfriend Collective initially focused on typical e-commerce metrics like conversion rates and cost per acquisition. Then they shifted to prioritizing transparency, sustainability, and body inclusivity to: - Challenge fast fashion by showcasing their entire supply chain, from recycled water bottles to fair wage factories - Expand size range from XXS to 6XL - Launch ReGirlfriend, a recycling program for worn-out leggings Instead of focusing solely on sales metrics, they dedicated significant website space to detailing their production process, even when it meant admitting to imperfections. Rather than chasing immediate profit, they gave away their first pairs of leggings for free (customers only paid shipping), building a loyal customer base through trust and quality. GC regularly produces content about environmental issues, prioritizing education over hard selling. They feature diverse, non-professional models from their community, focusing on representation rather than influencer metrics. A commitment to Radical Transparency and postponement of rapid growth built a devoted following and a respected voice in sustainable fashion. They've become a catalyst for conscious consumerism in the activewear industry. Remember, true brand influence isn't measured in likes and shares—it's felt in the cultural conversations, movements, and shifts your brand inspires. Meaningful cultural products helps your brand become a cultural cornerstone! Want the antidote to cure your conversion-crazed spells? Let's dig into the story behind your sell-sheets. Book a call to share your Q3 goals, and let's craft a cultural strategy that transforms your brand into a beacon of impact. Link in comments.

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Fun Friday question for fellow comms folks: What's one thing you do to make your All Hands meetings fun and engaging outside of the content itself? For example, do you use polls, quizzes, fun video intros, slides, or music to open? 🎶 I believe that music is a magical connector and mood lifter, so we open every All Thumbs — yes, we call them All Thumbs — with music. I love playing DJ and try to always make the music relevant to the season, meeting, ERG event, or similar. Oftentimes, I'll partner with our ERGs during their takeover months to compile playlists. We also have an archive on our intranet of Spotify playlists with every song ever played during an All Thumbs from over the years that our team can listen to or find songs they may have heard that they liked. 🎶 Please share your fun ideas below as to inspire others.

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Testing Gemini. I wanted to compare the answer to Chat GPT. This answer included suggestions. "Why are so many creatives and producers unemployed right now?" There are a couple of factors contributing to unemployment among creatives and producers: * **Economic Downturn:** A looming recession or economic uncertainty often leads companies to tighten their budgets. Advertising and marketing expenses are often among the first to be cut. This means fewer projects for creative agencies and production houses, leading to layoffs. * **Shifting Priorities:** Even without a recession, companies might re-evaluate their marketing strategies. With the rise of programmatic marketing ([what is programmatic marketing]), some businesses might be focusing their budgets on more data-driven online advertising, reducing the need for traditional commercials. * **Project Completion:** As mentioned earlier, there was a surge in film production in 2021 and 2022 to catch up on pandemic delays. This could lead to a temporary lull in new projects this year, leaving creatives and producers in between jobs. **Here's the breakdown:** * **Discretionary Spending:** Creative fields are often seen as discretionary expenses. When companies cut back, creative projects are often the first to go. * **Competition:** The creative industry is very competitive. Even in good times, there can be more qualified people than available jobs. Economic downturns can exacerbate this competition. **Upskilling and Adapting:** While the current situation might be challenging, there are ways for creatives and producers to adapt: * **Embrace New Technologies:** Understanding programmatic marketing and data-driven advertising can be valuable for creatives who want to stay relevant. * **Develop Side Hustles:** Freelancing platforms and online marketplaces can provide opportunities for creatives to find work outside of traditional agencies. * **Network and Build Relationships:** Having a strong network can be crucial for finding new opportunities, especially during tough times. The good news is that creativity is always in demand. By staying informed, adaptable, and connected, creatives and producers can navigate challenges and find success. #AI #production #advertising

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Really interesting stat on why micro-influencers trump celebrities every time, from this byline from Emma Ferrara of Viral Nation: "For brands embracing [a 'rawthentic'] approach, the results are 6X engagement rates that dwarf overly produced celebrity endorsements at a fraction of the cost." #creatoreconomy #influencermarketing #microinfluencers

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Adtech M&A is certainly heating up. Last week Digiday reported that Teads is exploring various sale options. This kind of news piques our Quo Vadis curiosity. So we did our best to puzzle together a fundamental valuation model. As imperfect as it may be, our model tells us that $2.2 billion is close to the magic number. Get the details and see how we get there: https://lnkd.in/ee6wEyXM Subscribe to Quo Vadis to follow this very interesting adtech valuation story! #adtech #programmatic #radicaltransparency

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The question from the IAB was "in 2025 what's going to tip the scales on viewership from majority linear to majority streaming?" My answer: SPORTS. It probably already has, without a true universal currency who really knows. But I can say the evidence was strong in that there was a waiting list of +100 brands and agencies for our Women's Sports NewFront. Thank you to the IAB and ADWEEK for caring about our perspective on the future of fandom and value of women's sports. https://lnkd.in/euZNcXdP #upfronts #newfronts #womenssports #sportsdata #streaming

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"Agency X came in and showed us some AI ideas, but they just weren't that good," lamented a frustrated CMO at a Fortune 500 company. This is not an isolated complaint. I've heard four similar stories from CMOs in the last two weeks (three of them were from the same agency, but I'll leave that to the imagination). How did we get here? How could smart agencies create AI demos that fall flat with seasoned marketers? And how could CMOs let this magical thinking invade their strategic planning? The hard truth is this: AI isn't a magic bullet that can solve complex marketing problems without deep human expertise. The most impactful AI implementations in marketing don't come from asking AI to do all the work. They emerge from close collaboration between marketers, software developers, and AI experts, carefully designing systems that leverage AI's strengths while incorporating human insight and creativity. This isn't about AI vs. humans: it's about creating AI through human expertise. It requires rolling up our sleeves, diving deep into existing workflows, understanding brand nuances, and iteratively building AI systems that can genuinely enhance (and potentially replace) human processes. For agencies: Stop setting unrealistic AI expectations. Work with CMOs to build rational AI applications based on real data and creative briefs. For CMOs: Push back harder. Build a team and process that thoughtfully integrates AI, rather than accepting hollow promises. For creatives: Embrace AI as a tool while focusing on your expertise. Continuously test and refine AI-assisted efforts to ensure quality. The future of AI in marketing is exciting, but it won't be realized through plug-and-play solutions. It'll be built through careful collaboration, experimentation, and a willingness to rethink our creative processes from the ground up. And, of course, if you want to build an AI tool that doesn't suck, give me a ring. More here: https://lnkd.in/eiXfDQRX

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Big Mood drops on Big Toobs today! From writer, director, to lead actors—some of the warmest, funny, and smart women you will ever meet. This series explores the joys, complexity and feralness of female friendship 🤌🏽💕🤌🏽

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How can brands connect with their audiences interests across #CTV screens? 🔒 ‘Get to Know’ Contextual TV. This series breaks down the next-level technologies and unique capabilities that have helped position Seedtag as the leading global #contextual partner. 🚀 First up, in part one of a two-part episode, Mike Villalobos, VP of Strategy & Planning at Seedtag, will take us through the basics of Contextual TV and how it can help address advertisers’ challenges in the CTV landscape. Press play for Contextual TV: https://lnkd.in/ezC4ryc8 #GetToKnow #ContextualTV #Seedtag #ContextualAdvertising

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More and more brands are wondering how they can advertise effectively to consumers across a fragmented identity ecosystem. Kristina Prokop's recent article in AdExchanger drills down the 4 ways brands can continue to maintain addressability for their omnichannel advertising strategies. 💫 Integrate audience data and first-party data: Brands can unlock more information about their customers and enable more precise targeting and personalized experiences by enriching their first-party data with audience data. These enriched data sets can then be used to find new like-minded audiences that represent a brand’s most receptive prospects. 💫 Use context: Contextual data and targeting – fueled by data and insights into the content people are consuming and how they’re consuming it – enables brands to tap into predictive audiences without relying on cookies. 💫 Adopt universal ID solutions: Brands can engage their users without cookies across channels by shifting to strategies that embrace universal IDs. While no single ID will replace the cookie, an ID-agnostic approach that combines the power of multiple IDs can go a long way while complying with all applicable privacy rules. 💫 Target omnichannel environments: Brands should also deepen their investments in channels that have never depended on cookies, including audio, CTV, DOOH and others. These channels represent growing opportunities to reach relevant, engaged audiences. Dun & Bradstreet Eyeota, a Dun & Bradstreet company https://lnkd.in/ex87Grxe

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🚨Trend/Rant/Insight Alert🚨   Across almost every sector and industry, content production is moving in-house. I’ve seen a marked shift towards building out small to mid-level production capabilities inside major brands and agencies in the last six to eight months. From full-time, production and post-production ready teams to Creator-minded TikTok and Reels specialists armed with nothing but an iPhone and a ring light, companies are finding the investment and overhead worth it to ramp up their content mills.   I think there’s a few implications here. For one, the demand to increase speed and decrease the time between inception and publishing is real. Companies and marketing teams, especially for huge global brands, can see social trends come and fade before their processes and workflows can even be engaged, let alone capitalize on them. Smaller, faster teams, closer to the decision-makers give them a puncher’s chance at striking Trending gold. “Learn TikTok,” seems to be the “learn to code” for 2024 and if your marketing team isn’t hiring an in-house creator to be a TikTok machine, they’re one of the few.   And secondly, and likely what I think is truly driving this, brands and agencies want to hold on to as much revenue and fee as possible. Instead of outsourcing specialist contractors, vendors or freelancers on a project-by-project basis, they want established, known-quantity teams with consistent workflows, fixed cost structures and to minimize OOPs. When advertising and marketing budgets get tight, it’s easy to look at production (which is basically *all* OOPs) and see an easy area to trim.   I think there’s pros and cons to this approach. In-house teams can be fast, agile and will know your brand inside and out. They can also get stylistically stale and, at some point, cap out on capabilities and technical know-how. The upside of engaging a wide freelancer and vendor network is the ability to bring in new talent, exciting technologies and fresh perspectives regularly. Additionally, the vendor marketplace (hopefully) means there’s true competition on price and while revenue may be going out, it is (ideally) actually more efficient on a per project basis.   I think the most successful brands will balance a well-rounded internal team for regular, drumbeat content with an extensive network of freelancers and vendors for must-win moments and big swings. Going forward, it’s important brands that build in in-house production continue to train, grow and invest in those resources and not see it as a one-time hit to this fiscal year’s numbers. And production vendors need to understand what role agencies and brands want content to play and continue to bring innovative, efficient offerings to the table. It's never been easier to make great content and tell great stories. But who you choose to make those stories will determine just how successful those stories get told.

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When I speak to people in and out of the media business, they all ask one question: “How did we get here?” https://lnkd.in/ei3p2TNi As we see layoffs at WBD, incoming at Paramount and then so many others, people want to know why did this happen? These are crown jewel companies with valuable IP! What I saw inside one of them was two countervailing forces: 1. The need to for stockholder satisfaction at the expense of customer satisfaction 2. The innovator’s dilemma writ large What does that mean? 1. Once streaming entered the arena, Wall Street valued Netflix at tech company multiples and encouraged legacy media to throw everything at getting into streaming and growing fast. Mergers, consolidation and more prevailed in the race to get bigger. Everyone had the data - only a few of these streamers would survive, because customers didn’t want dozens of services. They wanted 3-4. But in a rush to satisfy Wall Street, everyone got in. And when Wall Street changed their minds in 2022, the companies were left holding the bag. 2. When I started in media in 2007, we all knew streaming and digital was the future. We spent 75-80% of our time working on it. But the money that the cable bundle provided was hard to walk away from. Especially when trying to sell/merge a company. Legacy media could have and many wanted to get into streaming sooner. But it took money and time and a sharing of information company wide that could have been scary. So the end result? Everyone gets into streaming too late, trying to satisfy Wall Street, invests in content over building technology, loses focus on the consumer, loses focus on the brand and hopes for profitability. Whats the solution? Refocus. These are strong brands. Gen Z is the future. And they’ve got some attachment to the IP. But you’ve got to build a brand that works in streaming, linear, YouTube, TikTok, consumer products, theme parks and beyond. Multiple revenue streams, deeper engagement and focus on steady growth and nurturing fandom. Sound familiar? It should. It’s what Disney is doing. Universal has done it. It’s what we were trying to do before I left Warner Bros Discovery. Look at Gen Z. See how they interact with brands, how can you deepen their fandom and how can you monetize multiple touch points. Ignore Wall Street. Focus on growing vs cutting. If you look closely, you’ll see many brands doing this successfully in and outside of legacy media. Want me and talented colleagues to help? DM me. Needmore Stories is open for business and I’m #opentowork for the longer term.

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It's time to move past the initial hype of generative AI. We should all be using AI as a strategic driver of tangible return on investment. For example, ADWEEK just reported exclusively on a first-of-its-kind use case in which AI identified and helped a brand (Shake Shack) scour over 80,000 active subreddits to identify contextual conversations around, in this case, people who were hungry and craving chicken sandwiches. The bot, Known's "The Big Lebotski," then found the most efficient and effective ways to introduce Shake Shack's "Chicken Shack Sundays."   The results are impressive. As AdWeek put it, The Big Lebotski "drove people into the Shack." The campaign blew past sales benchmarks by 31%. As my partner, Kern Schireson, said: “We’re not trying to use AI to be fancy or to make it complicated. We’re using AI in places where traditional age, gender and psychographic targeting aren’t sufficient to get to a level of detail that will cause a campaign like this to perform.” Let's move past the smoke & mirrors. Stop with hyperbole. This is real, it works, and the brands that use AI wisely are experiencing dramatic results.

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👨‍💻 AI and CONTRACTS 👩‍💻 I'm curious contractually what BIG COMPANIES are going to do with AI when they work with creators and writers. From the clauses I've seen in my contracts (and others), we're definitely in the early wild wild west days of negotiating. Lawyers that I've talked to (in entertainment) are currently navigating this by going to seminars and reviewing across different clients for AI rules & terminology. It is evolving as we speak. What are your thoughts? #AI #contracts

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Have loved reading (and listening to) Kimeko McCoy, Digiday ask questions when it comes to #genai and what how to mitigate marketers' concerns. Razorfish's Cristina Lawrence joined in on the conversation, with a big point around brand reputation and perception when it comes to #ai. Have a read: "At the end of the day, with the brand clients, what they care about is the perception of the brand and the implications to brand perception. As we continue to refine the content labeling and that provenance piece, I think we will get to a point eventually where that apprehension will subside." https://lnkd.in/gb2wPKT8

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Really good piece from Brian Morrissey on Ad buying in the age of AI. Lots of good takeaways, but here's my favorite: "Clients will slow the adoption of AI tools. One agency executive voiced the familiar lament: clients are often stuck in the past. Well, more to the point, marketing executives at brands have bosses who are still asking about how much is going to brand vs performance (it’s all a mix nowadays) and for reach/frequency numbers in digital. (I can remember when there was a push for a digital GRP, which never made sense.)" #AI #adtech #martech https://lnkd.in/gTvcUr3D

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