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How Procter & Gamble’s media strategy changes the role of agencies

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Procter & Gamble Co.’s efforts to expand reach through programmatic TV and digital buying and bring much of its media planning and buying in-house are fundamentally changing the role of its media agencies and how the packaged-goods giant evaluates cost-effectiveness.

Those are among key takeaways from a keynote speech by the company’s Chief Brand Officer Marc Pritchard at the Association of National Advertisers Media Conference on Thursday, based on a transcript provided before the speech and an interview with Ad Age.

While Pritchard covered some of the same areas as other recent speeches before the ANA or investors, he delved into considerably more technical detail. That includes how the company is continuously raising its goal for reach—now at 90% of targeted audiences up from an 80%-90% range in October—even as it has pulled back or restrained growth of overall ad spending.

It’s doing so, Pritchard said, through a variety of tools and strategies. Those include better programmatic buying tools and algorithms to find the custom “smart audiences” P&G develops through its first-party data and analytics; better control of how often the same people see the same ads; and more unduplicated reach through increased spending on such things as streaming networks, retail search and immersive formats, such as gaming.

Pritchard said P&G also is improving the impact and resonance of ads through AI copy testing and greater use of diverse-owned and targeted media that improves attention and impact of ads.

Among new tools Pritchard mentioned was Search AutoBidder, a proprietary tool with direct access to retailer search programs, which he said, “enables adjusting ad buying and content every 15 minutes, automatically increasing brand sales return by four times and increasing basket size for retailers.”

Related: A generative AI guide for brands

Bigger not necessarily better

P&G was the third biggest U.S. marketing spender in 2021, with an outlay of $5 billion, according to the Ad Age Datacenter, and $2.4 billion in measured ad spending per Vivvix (formerly Kantar Media).

“The current definition of the world’s largest advertiser is about who spends the most money on advertising,” Pritchard said at the opening of his ANA speech. “Celebrating a company as the largest spender implies that it’s better to spend more and more each year. We see it differently, and that it’s time for a reset. It’s not who spends the most that matters. What matters is who reaches the most consumers with the greatest media precision, the highest advertising effectiveness and the optimum efficiency to deliver sustained growth and value creation.”

P&G’s talk of getting more bang for the buck through better targeting of more cost-efficient media, of course, goes back to much earlier in the millennium, to the CEO tenures of A.G. Lafley and Bob McDonald. During that time, the company went through a series of top-line disappointments and market share erosion, said Brian Wieser, principal of the consultancy Madison and Wall and former head of global business intelligence for WPP’s GroupM.

Spending restraint, however, hasn’t appeared to hurt P&G’s growth as much lately as the company raised prices an average of 10% globally last quarter to offset cost increases that have compressed profit margins. P&G nominal sales did fall 1% globally last quarter, but rose 5% organically (excluding currency, acquisition and divestiture effects) globally, and 6% in the U.S. And the company raised its full-year sales growth guidance.

P&G’s media spending is still up substantially over a five-year period, Pritchard said in the interview. But where in the more distant past it might have used targeting tools to narrow reach to the most responsive audiences, it’s increasingly looking at using newer, better analytic tools to maximize reach to relevant audiences and potential new customers now.

“Because we’re able to reach more people precisely, it’s mass reach with precession,” he said. “It’s more efficient.”

Pampers effort boosts sales 10%

The in-house media team for Pampers helped the brand grow U.S. sales 10% last year, Pritchard said in his speech. While the diaper brand aims for only the 10% of U.S. households that have babies, Pampers is now reaching 95% of them. That’s up 20 percentage points, with brand awareness up 26 points, return on investment up 17% and 15% media savings from prior years, Pritchard said.

First-party data has been one key to that, he said. “For example, when parents learn they’re pregnant and go online to search to determine when the baby is due, Pampers Due Date Calculator is served to help. Pampers provides additional content such as the Baby Name Generator, surveys about baby development, and augmented reality bedtime storytelling.  Pampers asks parents to join the Pampers Club to receive other relevant information and rewards for purchasing diapers.” Pampers Club now can “engage directly with 50% of all parents with babies in diapers,” he said.

The first-party data and other sources help the Pampers media team create “smart audiences” reached through programmatic digital media that avoids excess frequency, Pritchard said.

Pampers tests ads using P&G’s AI Studios proprietary testing, which he described as “a neural data network comprised of decades of consumer reactions to advertising.” The artificial intelligence system copy tests ads in one day for $1,000 vs. 30 days and $30,000 needed to run a conventional survey-based copy test, he said. “This fast-cycle testing allows the Pampers creative team to optimize more than 140 different ads a year for different platforms—including digital media, TikTok, YouTube, Pinterest, Instagram, e-commerce, streaming TV and broadcast TV.”

New role for media agencies

All that happens largely without media agencies.

Increasingly, P&G does media planning in-house. Much of its digital buying with big players such as Meta and Google is done by P&G marketers using self-service tools as part of Pritchard’s “hands on the keyboard” mantra. The company’s growing investment in CTV comes largely through programmatic buys handled by The Trade Desk. And its growing retail search business, which Pritchard in November said has risen to 11% of P&G ad spending, increasingly is handled through its automated system.

“Tide was one of the first brands to bring media in-house,” Pritchard said in his speech. “In broadcast TV, they received program and network viewing data previously available only to agencies. They converted the data into a planning algorithm that analyzes and chooses where to place ads across 120 networks and thousands of program combinations to maximize reach at lower cost. Then, they developed a scheduling algorithm to optimize the allocation of ads within programs across weeks, days and hours—increasing reach with the same number of ad units and saving $65 million dollars.  They’re now using an algorithm to test a new way to buy ads spread evenly across all TV programs and channels, which should increase reach another 3 points and save another $40 million.”

Such moves haven’t eliminated media agencies, but it has changed their role, Pritchard said.

“More than ever, we need agency partners to see around corners and innovate in areas such as measurement, stewardship, content development, artificial intelligence, immersive experiences, multicultural media ecosystem development, media supply chain efficiency, and the future of media and advertising,” he said. “We’re finding that we can do more work in-house productively and we can strengthen agency partnerships at the same time to create even more value.”

Dentsu’s Carat and Omnicom’s Hearts & Science are P&G’s media agencies in North America.

“Over the past few years, Omnicom Media Group and Hearts & Science have created new service models and a suite of specialized capabilities that help clients with in-housing ambitions,” said Hearts & Science CEO Chris Stanger in an email statement. “We’ve been at the forefront of this shift and many of our clients leverage our capabilities to augment gaps in their own solutions as they progress along their maturity curve. Examples include our end-to-end marketing orchestration platform (Omni), enhanced commerce and supply-chain capabilities (Transact), full-service deployment of the Google Marketing Platform (TRKKN), and a host of advanced digital, personalization, and measurement capabilities. As our clients explore new service models, we’ll continue to build and refine the capabilities that accelerate their growth.”

Dentsu did not immediately return a request for comment.

“Years ago, when agencies started saying ‘We can aggregate data and start to create audiences to do better targeting,’ that was great,” Pritchard said in an interview. “But over time, that’s what we can do now.” So he said he’s asking agencies, “’What’s next?’ And that will change the role of agencies, particularly major media agencies. It will still be a partnership, just different.”

Among other things, he said, “We had an agency recently come to us saying, ‘Look, we’re thinking about how we can help you build out Black-owned and Hispanic- and Asian-owned media content.”

Beyond CPMs

While P&G brands are reaching more of their target audiences often at less cost, that doesn’t necessarily mean lower cost per thousand. The savings often come from eliminating excess ad frequency, and increasing unduplicated reach, by definition, means reaching harder-to-reach audiences, which can come at added costs.

For example, reaching a Black audience with “resonant media” is going to have a higher sales lift that justifies a higher CPM, Pritchard said in the interview. “That’s where the future is,” he said, and one area where he’d like to see agencies contribute is “help us figure out how to do that and the whole measurement ecosystem as opposed to just one particular way” of measuring.

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Sutherland House Experts Book Publishing Launches To Empower Quiet Experts

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Sutherland House Experts is Empowering Quiet Experts through
Compelling Nonfiction in a Changing Ideas Landscape

TORONTO, ON — Almost one year after its launch, Sutherland House Experts is reshaping the publishing industry with its innovative co-publishing model for “quiet experts.” This approach, where expert authors share both costs and profits with the publisher, is bridging the gap between expertise and public discourse. Helping to drive this transformation is Neil Seeman, a renowned author, educator, and entrepreneur.

“The book publishing world is evolving rapidly,” publisher Neil Seeman explains. “There’s a growing hunger for expert voices in public dialogue, but traditional channels often fall short. Sutherland House Experts provides a platform for ‘quiet experts’ to share their knowledge with the broader book-reading audience.”

The company’s roster boasts respected thought leaders whose books are already gaining major traction:

• V. Kumar Murty, a world-renowned mathematician, and past Fields Institute director, just published “The Science of Human Possibilities” under the new press. The book has been declared a 2024 “must-read” by The Next Big Ideas Club and is receiving widespread media attention across North America.

• Eldon Sprickerhoff, co-founder of cybersecurity firm eSentire, is seeing strong pre-orders for his upcoming book, “Committed: Startup Survival Tips and Uncommon Sense for First-Time Tech Founders.”

• Dr. Tony Sanfilippo, a respected cardiologist and professor of medicine at Queen’s University, is generating significant media interest with his forthcoming book, “The Doctors We Need: Imagining a New Path for Physician Recruitment, Training, and Support.”

Seeman, whose recent and acclaimed book, “Accelerated Minds,” explores the entrepreneurial mindset, brings a unique perspective to publishing. His experience as a Senior Fellow at the University of Toronto’s Institute of Health Policy, Management and Evaluation, and academic affiliations with The Fields Institute and Massey College, give him deep insight into the challenges faced by people he calls “quiet experts.”

“Our goal is to empower quiet, expert authors to become entrepreneurs of actionable ideas the world needs to hear,” Seeman states. “We are blending scholarly insight with market savvy to create accessible, impactful narratives for a global readership. Quiet experts are people with decades of experience in one or more fields who seek to translate their insights into compelling non-fiction for the world,” says Seeman.

This fall, Seeman is taking his insights to the classroom. He will teach the new course, “The Writer as Entrepreneur,” at the University of Toronto, offering aspiring authors practical tools to navigate the evolving book publishing landscape. To enroll in this new weekly night course starting Tuesday, October 1st, visit:
https://learn.utoronto.ca/programs-courses/courses/4121-writer-entrepreneur

“The entrepreneurial ideas industry is changing rapidly,” Seeman notes. “Authors need new skills to thrive in this dynamic environment. My course and our publishing model provide those tools.”

About Neil Seeman:
Neil Seeman is co-founder and publisher of Sutherland House Experts, an author, educator, entrepreneur, and mental health advocate. He holds appointments at the University of Toronto, The Fields Institute, and Massey College. His work spans entrepreneurship, public health, and innovative publishing models.

Follow Neil Seeman:
https://www.neilseeman.com/
https://www.linkedin.com/in/seeman/

Follow Sutherland House Experts:

https://sutherlandhouseexperts.com/
https://www.instagram.com/sutherlandhouseexperts/

Media Inquiries:
Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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What to stream this weekend: ‘Civil War,’ Snow Patrol, ‘How to Die Alone,’ ‘Tulsa King’ and ‘Uglies’

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Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.

NEW MOVIES TO STREAM SEPT. 9-15

Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.

— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.

— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”

AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM SEPT. 9-15

— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”

— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.

AP Music Writer Maria Sherman

NEW SHOWS TO STREAM SEPT. 9-15

— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.

Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.

— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.

— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.

Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.

— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.

Lou Kesten

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Trump could cash out his DJT stock within weeks. Here’s what happens if he sells

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Former President Donald Trump is on the brink of a significant financial decision that could have far-reaching implications for both his personal wealth and the future of his fledgling social media company, Trump Media & Technology Group (TMTG). As the lockup period on his shares in TMTG, which owns Truth Social, nears its end, Trump could soon be free to sell his substantial stake in the company. However, the potential payday, which makes up a large portion of his net worth, comes with considerable risks for Trump and his supporters.

Trump’s stake in TMTG comprises nearly 59% of the company, amounting to 114,750,000 shares. As of now, this holding is valued at approximately $2.6 billion. These shares are currently under a lockup agreement, a common feature of initial public offerings (IPOs), designed to prevent company insiders from immediately selling their shares and potentially destabilizing the stock. The lockup, which began after TMTG’s merger with a special purpose acquisition company (SPAC), is set to expire on September 25, though it could end earlier if certain conditions are met.

Should Trump decide to sell his shares after the lockup expires, the market could respond in unpredictable ways. The sale of a substantial number of shares by a major stakeholder like Trump could flood the market, potentially driving down the stock price. Daniel Bradley, a finance professor at the University of South Florida, suggests that the market might react negatively to such a large sale, particularly if there aren’t enough buyers to absorb the supply. This could lead to a sharp decline in the stock’s value, impacting both Trump’s personal wealth and the company’s market standing.

Moreover, Trump’s involvement in Truth Social has been a key driver of investor interest. The platform, marketed as a free speech alternative to mainstream social media, has attracted a loyal user base largely due to Trump’s presence. If Trump were to sell his stake, it might signal a lack of confidence in the company, potentially shaking investor confidence and further depressing the stock price.

Trump’s decision is also influenced by his ongoing legal battles, which have already cost him over $100 million in legal fees. Selling his shares could provide a significant financial boost, helping him cover these mounting expenses. However, this move could also have political ramifications, especially as he continues his bid for the Republican nomination in the 2024 presidential race.

Trump Media’s success is closely tied to Trump’s political fortunes. The company’s stock has shown volatility in response to developments in the presidential race, with Trump’s chances of winning having a direct impact on the stock’s value. If Trump sells his stake, it could be interpreted as a lack of confidence in his own political future, potentially undermining both his campaign and the company’s prospects.

Truth Social, the flagship product of TMTG, has faced challenges in generating traffic and advertising revenue, especially compared to established social media giants like X (formerly Twitter) and Facebook. Despite this, the company’s valuation has remained high, fueled by investor speculation on Trump’s political future. If Trump remains in the race and manages to secure the presidency, the value of his shares could increase. Conversely, any missteps on the campaign trail could have the opposite effect, further destabilizing the stock.

As the lockup period comes to an end, Trump faces a critical decision that could shape the future of both his personal finances and Truth Social. Whether he chooses to hold onto his shares or cash out, the outcome will likely have significant consequences for the company, its investors, and Trump’s political aspirations.

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