Local television just received a major upgrade in measurement tools: Measurement service Comscore and agency holding company Dentsu unveiled a yearlong test of advanced analytics use in local investment that takes the medium far beyond outdated age and gender demographics — the equivalent these days of writing with stone and chisel.
Dentsu signed up for Comscore’s local TV currency, which is based largely on set-top box input, and will use the data in buying and post-buy evaluation across its three media agencies: Carat, dentsuX and iProspect. Although it’s a supplemental currency feed, it could one day replace other data sources, said Jennifer Hungerbuhler, executive vp of local and audio investment at Dentsu Media U.S.
For years, the local TV business has labored in the shadow of national TV in attracting advertising dollars. This has largely been the result of less sophisticated measurement tools, along with the reality that, for national advertisers, it’s easier to buy nationally than stringing together regional buys for national reach (even though that can sometimes be less expensive).
Applying Comscore’s currency to actual buys is slated to go live in January 2023, but has been tested in two of the top 10 local TV markets for the last year, said Hungerbuhler. “Because we are testing it is supplemental, but it does have the opportunity to supplant as we continue to grow with scale on our client base for using advanced audiences,” she said.
“This is an industry first, and a huge change for the local measurement market for advertising,” said Carol Hinnant, chief revenue officer at Comscore, who noted this will not only benefit the top 25 markets but will be felt down to the 100s in market size (TV markets are ranked in size of viewers, reaching down into the 200s).
“The value prop is that we’re just trying to make the luxury of choice in terms of if you want to transact on something beyond age and gender available to the local folks, much in the same way that it’s available on the national side and has been for many years,” added Kate Roganti, senior vp of commercial at Comscore.
Hungerbuhler said two Dentsu clients have been involved in the testing, neither of which she would identify beyond noting their categories: retail and quick-serve restaurants.
“Historically, you know, our television buyers have been unable to reap the benefits of having advanced audiences and data driven buying,” she said. “With our partnership with Comscore, we can now take that audience that we’ve created in M1 [Dentsu’s internal data platform], and match it with Comscore’s set top box data to allow us to better understand what our target audiences’ viewing preferences are in the individual markets. Now we can start transacting on this — we’re going to be able to guarantee on this audience and buy and post against it.”
At the Television Bureau of Advertising’s annual Forward conference in New York on Thursday, TVB president Steve Lanzano interviewed GroupM’s executive director of U.S. investment strategy Adam Gerber, who agreed that the time is right for local TV to catch up to a much more complex media marketplace if it’s going to remain competitive.
“Measurement is a huge issue for our clients, especially as they move from historical models where they’re focused on intrusive ad models (about exposure and reach) and increasingly move to models where it’s about outcomes and accountability,” Gerber told Lanzano. “There’s a lot of work that we need to do as an industry to help navigate that sea change, that has huge impacts for us as agencies. Because all the tools that we used back in the day haven’t changed — planning tools that we use to forecast what’s happening, and the actual activation tools we use to steward deals and manage buys. Those aren’t going to work in the new world, because of the way that things are moving to a much more impression-based dynamic insertion type of model.”
NASA Says Hurricane Didn’t Hurt Artemis I Hardware, Sets New Launch Window
NASA’s Artemis I moon mission launch, stalled by Hurricane Ian, has a new target for takeoff. The launch window for step one of NASA’s bold plan to return humans to the lunar surface now opens Nov. 12 and closes Nov. 27, the space agency said Friday.
The news comes after the pending storm caused NASA to scrub the latest Artemis I Iaunch, which had been scheduled for Sunday, Oct. 2. As Hurricane Ian threatened to travel north across Cuba and into Florida, bringing rain and extreme winds to the launch pad’s vicinity, NASA on Monday rolled its monster Space Launch System rocket, and the Orion spacecraft it’ll propel, back indoors to the Vehicle Assembly Building at Florida’s Kennedy Space Center.
The hurricane made landfall in Florida on Wednesday, bringing with it a catastrophic storm surge, winds and flooding that left dozens of people dead, caused widespread power outages and ripped buildings from their foundations. Hurricane Ian is “likely to rank among the worst in the nation’s history,” US President Joe Biden said on Friday, adding that it will take “months, years, to rebuild.”
Initial inspections Friday to assess potential impacts of the devastating storm to Artemis I flight hardware showed no damage, NASA said. “Facilities are in good shape with only minor water intrusion identified in a few locations,” the agency said in a statement.
Next up, teams will complete post-storm recovery operations, which will include further inspections and retests of the flight termination system before a more specific launch date can be set. The new November launch window, NASA said, will also give Kennedy employees time to address what their families and homes need post-storm.
Artemis I is set to send instruments to lunar orbit to gather vital information for Artemis II, a crewed mission targeted for 2024 that will carry astronauts around the moon and hopefully pave the way for Artemis III in 2025. Astronauts on that high-stakes mission will, if all goes according to plan, put boots on the lunar ground, collect samples and study the water ice that’s been confirmed at the moon’s South Pole.
The hurricane-related Artemis I rollback follows two other launch delays, the first due to an engine problem and the second because of a hydrogen leak.
Hurricane Ian has been downgraded to a post-tropical cyclone but is still bringing heavy rains and gusty winds to the Mid-Atlantic region and the New England coast.
What You Get in McDonalds’ New Happy-Meal-Inspired Box for Adults
You’ve pulled up to McDonald’s as a full-on adult. You absolutely do not need a toy with your meal, right? Joking. Of course you do.
The fast-food chain will soon sell boxed meals geared toward adults, and each one has a cool, odd-looking figurine inside.
The meal has an odd name — the Cactus Plant Flea Market Box — that’s based on the fashion brand collaborating with McDonald’s on this promotion.
According to McDonald’s, the box is inspired by the memory of enjoying a Happy Meal as a kid. The outside of the box is multicolored and features the chain’s familiar golden arches.
The first day you can get a Cactus Plant Flea Market Box will be Monday, Oct. 3. Pricing is set by individual restaurants and may vary, according to McDonald’s. It’ll be available in the drive-thru, in-restaurant, by delivery or on the McDonald’s app, while supplies last.
You can choose between a Big Mac or 10-piece Chicken McNuggets. It will also come with fries and a drink.
Now about those toys. The boxes will pack in one of four figurines. Three of the four appear to be artsy takes on the classic McDonald’s characters Grimace, Hamburglar and Birdie the Early Bird, while the fourth is a little yellow guy sporting a McDonald’s shirt called Cactus Buddy.
In other McD news, Halloween buckets could be returning to the chain this fall. So leave some room in your stomach for a return trip.
Why companies like iHeartMedia, NBCU rely on homegrown IP to build metaverse engagements
To avoid potential blowback from a skeptical audience, retailers as well as media and entertainment companies are learning to invest in their homegrown intellectual properties while building virtual brand activations inside Roblox or Fortnite.
Take, for instance, when they get it wrong.
Earlier this week, Walmart launched its own Roblox world — called Walmart Land — and was roundly mocked for it across social media given the announcement’s disjointed brand message and apparent lack of life. In one viral tweet, a Twitter user described a clip of Walmart CMO William White introducing the Roblox space as “one of the saddest videos ever created.”
To some extent, this sort of criticism is to be expected during the early days of the metaverse.
“Walmart is an iconic brand; when you see them coming into a platform like Roblox, people are going to be 10 times more critical of what is being launched,” said Yonatan Raz-Fridman, CEO of the Roblox developer studio Supersocial.
But Walmart’s size is not its only disadvantage as it dips its toes into Roblox. Although Walmart has a widely recognizable brand, it owns few intellectual properties that users are actually interested in experiencing virtually — a shortcoming reflected by the somewhat cavernous emptiness of Roblox’s Walmart Land.
The success of other recent brand activations is evidence that media and entertainment brands are better equipped to build metaverse spaces that can dodge online skepticism, thanks to their wealth of owned IP.
“They are having to reinvent themselves, to a certain degree, but that is in their DNA,” said Jesse Streb, global svp of technology and engineering at the agency DEPT. “So they have a unique advantage over, say, some kludgy company that sells lumber, or a construction company.”
For example, iHeartMedia’s Roblox and Fortnite spaces were inspired by the mass media corporation’s wealth of popular real-life events, such as the Jingle Ball Tour and iHeartRadio Music Festival, with virtual versions of musicians like Charlie Puth performing pre-recorded concerts that allow real-time audience interaction.
“There’s a strong brand association with the IP, down to a station level — you’re in the New York area, you probably know Z100,” said iHeartMedia evp of business development and partnerships Jess Jerrick. “The same is true for the event IP, or the IP that we now have in the podcasting space, and of course our radio broadcast talent. So there’s no shortage of really strong IP we can bring into these spaces.”
Translating real-life properties into the metaverse is also an enticing prospect for brands that view metaverse platforms as an experimental marketing channel, allowing them to bring tried-and-true IP into their virtual activations instead of designing them from the ground level. This was part of the strategy behind the recent Tonight Show activation in Fortnite Creative, which was designed in collaboration between NBCUniversal and Samsung. “We’re looking at it holistically — how do we find fans in new ways, and use IP that fans love in new ways?” said NBCU president of advertising and client partnerships Mark Markshall.
Since opening on Sept. 14, iHeartLand has already enticed over 1.5 million Roblox users to visit. The company aims to retain that attention with a schedule of virtual programming featuring popular musicians and personalities.
“At our core, we are essentially an influencer network; our broadcast talent are some of the most connected, most engaging influencers at work in media today,” said Conal Byrne, CEO of iHeart Digital Audio Group. “That gives us this sort of superpower, to be able to go into new-ish platforms, like Roblox or Fortnite, because we talk to our listeners through those influencers.”
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