Wednesday, September 10, 2025

Netflix Adds Amazon Ads to DSP Partners

 Would local-direct clients benefit from this new ad platform? Philip Jay LeNoble, Ph.D.

Netflix Adds Amazon Ads to DSP Partners

Netflix is extending its demand-side platform partnerships -- now with Amazon Ads to be offering premium advertising inventory of its TV and movie content.

“By integrating Amazon DSP and enabling even more advanced capabilities together over time, we’re making it easier than ever to connect with Netflix's global engaged audience,” said Amy Reinhard, President of Advertising, Netflix, in a release.

Other DSPs used by Netflix include Yahoo, The Trade Desk, and Google's Display & Video 360 (DV360), where advertisers can programmatically buy ad inventory on Netflix's ad-supported tier.

The partnership will start up in the fourth quarter 2025 in the United States, the U.K., France, Spain, Mexico, Canada, Japan, Brazil, Italy, Germany and Australia.

This extends Amazon Ads' efforts around all major streaming platforms. 


Amazon Ads already has deals with NBCUniversal (Peacock); Warner Bros. Discovery (HBO Max); Fox Corp. (Tubi and Fox One); Paramount Skydance (Paramount+ and Pluto TV. Recently it inked a deal with Walt Disney (Disney+, Hulu and ESPN).

At the same time, Amazon is in the unusual commanding position of owning a big DSP and strong and growing premium streaming service -- Prime Video.

Amazon Ads continues to widen its competitive business -- including possibly threatening the largest independent DSP, The Trade Desk, according to analysts.

'Downton Abbey' Movie Gets Glamorous New York Premiere

 

Commentary

'Downton Abbey' Movie Gets Glamorous New York Premiere

The third and final “Downton Abbey” movie is sensational, and so was the premiere event Focus Features put on in New York Monday night.

The event had two parts -- the premiere movie screening in the intimate Rose Theater (capacity 1,109) at the Jazz At Lincoln Center performance venue, and then a reception in the famed New York Public Library building at Fifth Avenue and 42nd Street (charter bus transportation provided).

Opened in 1911, the imposing, Beaux-Arts building -- first conceived in the 1890s -- is a product of the Gilded Age, a likely unintentional reflection of “Downton Abbey” creator Julian Fellowes’ current series “The Gilded Age” on HBO.

Although the new “Downton” movie -- titled “Downton Abbey: The Grand Finale” -- takes place in 1930, a celebration of the TV series and the new movie felt right at home in the grandeur of the building’s marble-clad, first-floor entrance hall and spacious corridors that shoot off in two directions just behind the entrance space.


At the theater, the movie was preceded by the appearance on-stage of Julian Fellowes and then most of the stars of the show, including Michelle Dockery (Lady Mary), Hugh Bonneville (Robert Crawley, Earl of Grantham), Elizabeth McGovern (Cora Crawley, Countess of Grantham), Laura Carmichael (Lady Edith), Allen Leech (Tom Branson), Joanne Froggatt (Anna Bates), Paul Giamatti (Harold Levinson), Penelope Wilton (Isobel Crawley), Douglas Reith (Lord Merton) and others.

Adding to the celebratory mood, some members of the audience attended in period apparel. 

Among the celebrities on hand was Bob Balaban, who played a key role in the creation of “Downton Abbey,” according to Fellowes.

From the Rose Theater stage, Fellowes singled out Balaban, and told the audience how the actor had connected him with director Robert Altman for the 2022 movie “Gosford Park,” the movie about the English aristocracy that laid the very foundation for “Downton Abbey.”

As for the movie, the TV Blog will refrain from revealing any elements of the plot, but a word of advice to those planning to see it when it opens Friday: Bring tissues and hankies. 

The movie renders the world of Downton, its residents and servants, the surrounding community, and 1930s London with the attention to minute detail that has characterized the series and mesmerized its audiences since 2010 (time frame of the first season: 1912-14).

At the party, members of the “Downton Abbey” cast mingled with the guests. The TV Blog and guest ran into Hugh Bonneville, Douglas Reith and Simon Curtis, the movie’s director.

We also made an effort to greet Julian Fellowes to congratulate him on the movie and express our thanks for this event. Whether or not he was the actual host, I always like to thank somebody anyway.

Speaking of thanks, the TV Blog and guest were the guests of Viking, the Switzerland-based cruise and travel company which credits its long sponsorship of “Downton Abbey” with helping it establish its brand as “a household name.”

Indeed, anyone who ever watched “Downton” (and other series on PBS’s “Masterpiece”) knows the Viking company, with its commercials showing its sleek tour ships cruising the rivers of Europe in search of on-shore castles, museums and fine food.

By now, the Viking company’s commercials featuring founder and chairman Tor Hagen have achieved iconic status.

The company’s association with “Downton” extends to dry land. Since 2011, the company has partnered with the owners of Highclere Castle (in Highclere, U.K.), the grand English home dating to 1679 that served as the filming location for the Crawley home on “Downton.”

The show has made the Castle -- owned by the Earl and Countess of Carnarvon -- one of Britain’s most popular tourist attractions, and Viking has long offered tours of the Castle and surrounding areas.

Throughout the movie, the late Maggie Smith and the powerful character she played on the TV show -- Violet Crawley, Dowager Countess of Grantham -- was not forgotten.

The family matriarch came up often in conversations in the movie, and a portrait on a wall was seen many times within the Crawley home. In a touch of class, the movie was dedicated to the beloved star.

Midterm Political TV Ad Spend Up 22% To $10.8B

 

Commentary

Midterm Political TV Ad Spend Up 22% To $10.8B

Strong political TV/streaming advertising will continue next year for the 2026 mid-term elections, rising to a projected new record total of $10.8 billion, according to AdImpact.

This would be up 22% from the 2022 midterms ($8.9 billion) and a 4% decline from last year’s Presidential-focused political ad season estimated at $11.2 billion.

For next year, AdImpact sees broadcast TV still taking a dominant 49% share of political spend -- $5.28 billion (down slightly from $5.36 billion in the 2024 political year)

All media platforms are expected to be down versus 2024 -- except connected TV, which is projected to climb to $2.48 billion from $2.34 billion.

Digital media will slip to $1.43 billion (from $1.7 billion), with cable TV down to $1.29 billion (from $1.37 billion), radio dipping to $280 million (from $330 million) and satellite dropping to $80 million (from $90 million).


Spending on U.S. Senate campaigns in 2026 will rise slightly versus 2024 to $2.8 billion. The widely watched U.S. House of Representatives races will climb 27% to $2.2 billion -- the first time those races will top the $2 billion mark.

Even so-called "off-year" political spending is improving. Through August 26, 2025 -- season-to-date -- AdImpact tracking for political ads is now 38% higher ($900 million) versus $657 million in 2023. It is also 58% higher than 2021’s $572 million.

Research comes from AdImpact's monitoring of more than 24,000 elections, 33 million ad airings, and $41 billion in overall political ad spendin

Streaming Subscriptions Climb 10% In Q2, 'Unique' Customers Up 8%

 

Streaming Subscriptions Climb 10% In Q2, 'Unique' Customers Up 8%


Although streaming video subscriptions have slowed down a bit, they continue to see growth in the second quarter of 2025 -- adding 10% to now total 339 million, according to subscription research company Antenna.

At the same time, "unique" individual streaming consumers for those connected TV apps (CTV) are up 8% to 177 million versus a year ago.

Premium streaming apps -- like Apple TV+, Disney+, Netflix, Hulu, Paramount+ and Peacock -- now command a 79% share (267.8 million) of the total 339 million subscriptions-- up from 78% in the year-ago quarter.

Specialty streaming -- such as A&E Crime Central, Hallmark+, BET+, BritBox, MGM+, Crunchyroll, Shudder, ViX Premium and Lifetime Movie Club and CuriosityStream -- added 12% (40.7 million) during the period.

On the losing end is sports streaming, which has slipped 1% to 20.3 million. This includes DAZN, ESPN+, FanDuel Sports Network, MLB TV, MLS Season Pass, NBA League Pass, NFL+, NFL Sunday Ticket -- and UFC Fight Pass.


Virtual multichannel video program distributors (vMVPD) grew 5% to 16.95 million (a 5% share), according to Antenna.

All non-premium streaming categories were up 6% in subscriptions to 89 million in the period.

Good news for streamers is that consumers cancelling their subscriptions are down slightly. Premium streamers have the lowest/best "churn" rate -- at 4.1%. This includes DirecTV Stream, Hulu + Live TV, Philo, Sling TV, and YouTube TV.

Specialty streamers have the highest/worst churn rate at 6.6%, while sports comes in at 5.1% and virtual multichannel video program distribution (vMVPD) is at 4.5%.

Commentary YouTube Scores Another Touchdown: What's Next - A Favorite Unscripted Show?

 

Commentary

YouTube Scores Another Touchdown: What's Next - A Favorite Unscripted Show?

Have we just hit a new level -- a real game-changer -- when it comes to linear TV networks squaring off with streaming TV world?

YouTube averaged a big 16.2 million Nielsen-measured (and YouTube first-party data) for an NFL regular-season game -- the one in San Paulo, Brazil featuring the Los Angeles Chargers upsetting the perennial Super Bowl champion Kansas City Chiefs. (And okay, it was exclusive. That didn’t hurt viewership).

Consider that NFL regular-season games on all its other platforms last season achieved an average of 17.5 million. This puts YouTube on a level (or at least in the same ballpark) with the linear TV networks, Netflix and others (especially for live sporting events).

If you have been shrugging your shoulders over YouTube becoming dominant and ascending in TV-video U.S. share -- now around 12%, according to Nielsen’s monthly Total TV measure -- you have something to think about beyond typical YouTube content featuring crocheting lessons, loud, combative podcasts, and Mr Beast stunts.


Think specifically about a new way to compete for your attention: YouTube Vs. “Sunday Night Football," YouTube Vs. “NCIS," and YouTube Vs. "Hannity."

Live sports bring immediate and valuable engagement to the likes of streamers: Netflix (the Christmas Day NFL content and special boxing events), and Amazon Prime Video (“Thursday Night Football”).

What happens next? It may not be bigger, dramatic live content -- just mid-size, but still important, staple legacy TV content that devoted viewers follow.

Think about possible exclusive episodes of well-known brand TV series: NBC’s “The Voice,” ABC’s “American Idol,” Bravo’s “The Real Housewives” and TLC’s “90 Day Fiance” or “Sister Wives.”

These are efforts to grab attention as the streaming world dilutes -- or in many cases eliminates -- legacy "time period" scheduling strategy, making things a bit more complex.

Want to dip into an important political podcast (real-time or otherwise), a jazz guitar lesson, a new season of Netflix’s “Virgin River” or a live Major League Baseball playoff game? Your choice. But how to market that content?

Other competitive parts of the now diverse, broader digital media world still pursue your attention and your time.

The immediacy of real-time content -- the impact of which can quickly disappear -- becomes important.

And just in case you were wondering, YouTube is still also your backup: It does have a replay of the Sao Paulo NFL game -- if you want to catch up.

Tuesday, September 9, 2025

Automotive TV Spending Drops 31% In August

 A little update on what's happening in the automotive biz. Philip Jay LeNoble, Ph.D.


automotive

Automotive TV Spending Drops 31% In August

Automakers spent an estimated $84.4 million on national TV spending in August, down 31.3% compared to $122.8 million in August 2024. 

Household TV ad impressions also dropped in August to 17.9 billion, down 20.5% compared to 22.5 billion in August 2024, according to iSpot.tv. 

Year-to-date estimated national TV spending also declined 4.9% and year-to-date impressions dipped 16.4 %. 

The top five brands by estimated national TV ad spending in August were Lexus ($9.3 million), Kia ($8.8 million), Toyota ($8.6 million), Subaru ($7.7 million) and Volkswagen ($5.5 million), per iSpot.tv. 

Sports-related programming accounted for nearly half (49%) of the auto industry’s total national linear TV ad spend in August, led by the NFL (16.8%), MLB (6.5%) and college football (4.1%). 


Of the top five automakers, Lexus and Toyota leaned into NFL preseason action the most, allocating a respective 62% and 29% of total outlay toward games, and all of them activated around college football games to some extent, says Stuart Schwartzapfel, executive vice president of media partnerships at iSpot.tv. 

“While MLB games generated the most reach for automakers overall in August, early-season football action also provided reemerging opportunities to tap into some of TV’s biggest audiences,” Schwartzapfel tells Marketing Daily. “Meanwhile, news remains an underutilized avenue to reaching active auto buyers, with audience demand during those programs outpacing the number of ads appearing.”

The top five brands by share of automaker household TV ad impressions, August 2025 were Toyota (10.96%), Hyundai (8.88%), Kia (8.06%), Chevrolet (7.76%) and Ford (7.18%), per iSpot.tv. 

The top five brands by share of voice on streaming in August 2025 were Hyundai (12.05%), Ram Trucks (10.97%), Jeep (10.79%), Nissan (7.54%) and Toyota (6.20%).

Just three automakers accounted for a full third of streaming TV ad reach SOV in August: Hyundai, Ram Trucks and Jeep — and two of those didn’t rank among the top ten on linear: Ram Trucks was No. 13 on linear and Jeep was No. 11. While Toyota was No. 1 on linear, it was No. 5 on streaming, per iSpot.tv.

The top programs for automakers by share of household TV ad impressions in August 2025 were MLB (10.12%), College Football (5.37%), NFL (2.88%), PGA Tour Golf (2.60%) and SportsCenter (1.82%), per iSpot.tv.

The most-seen automaker ads by share of household TV ad impressions in August 2025 were Hyundai: Lawyer (4.12%), Hyundai: Therapist (4.01%), Jeep: How Summer Rolls (3.44%), Chevrolet: The Heartbeat of America (2.85%) and Nissan: Keep Summer Going (2.80%).

The top automaker ads by likeability among the top 20 most-seen ads, August 2025 according to iSpot.tv were Subaru: Dog Tested: On Repeat (+17.6% more likeable than August automotive norm), Jeep: How Summer Rolls (+10.2%), Audi: The Road Is Calling (+10.2%), Lexus: Dogs (+9.0%) and Chevrolet: The Heartbeat of America (+7.3%), per iSpot.tv.

The top automaker ads by positive purchase intent among the top 20 most-seen ads in August 2025 were Audi: The Road Is Calling (62%), Kia: VIP Lounge Seating (58%), Chevrolet: The Heartbeat of America (56%),  Mercedes-Benz: The Philosophy (56%) and Subaru: Dog Tested: On Repeat (54%).

Chevrolet’s “The Heartbeat of America” shows various Chevy models — from its SUVs and trucks to electric vehicles — being used for life’s adventures. It stood out in August not only by industry reach, but from a creative perspective as well: It performed in the 90th percentile for likeability and the 86th percentile for desire, and also scored above the auto norm for attention and relevance. It had a notable 56% positive purchase intent, according to iSpot.tv. 

Advertising 2030: 'A World of Bot-to-Bot Marketing,' Even More Personalization

 

Advertising 2030: 'A World of Bot-to-Bot Marketing,' Even More Personalization

  

   

WPP Media is out with an updated “Advertising In 2030,” report that crystal balls industry trends five years out, based on surveys and interviews with dozens of industry experts, most identified and handful who opted to remain anonymous. 


The good news: not only will advertising still be around, it will also “remain a critical plank of the economy,” the report concludes. “And not just for traditional media publishers, but also for retail, transit, and other sectors that are moving into the space.” 

The report also notes that “our respondents’ optimism is now tempered with a little more pragmatism. The expert outlook for 2030, viewed through the lens of the past five years, suggests a future where technological integration, particularly involving biometrics and AI assistance, continues its advance.” 

The year 2030 will “be a world of bot-to-bot marketing and more personalization. One in which the carving up of regionally or ideologically aligned blocs permeates regulatory affairs and we move farther away from a single, global approach to consumer privacy and identity.” 

The survey found more skepticism concerning permanent shifts in consumer behavior, “particularly when it comes to prioritizing ideals over price.” 

Most of the experts surveyed believe it is likely that biometric data will be widely used by 2030 to access, personalize and secure services. 

Most also believe that companies will rely on AI to produce a majority of creative content. 

And it is also likely, per the survey, that most interaction between brands and consumers will be “bot to bot” (such as personal agent to brand bot).  

What remains unlikely per the survey is that consumers will be able to easily eliminate “all exposure to advertising from their daily lives.” 

And it is also unlikely that sales of augmented reality glasses and virtual reality headsets will outweigh sales of smartphones and watches.