Tag Archives: business

awarding, content creating, creator-ing, streaming, trending

The Future’s Behind Us: Dispatches from Cannes Lions 2025

I love the Cannes Lions Festival of Creativity.

There. I said it.

I’ll admit that I’ve had my moments of scepticism over the years, but we need Cannes – perhaps now more than ever.

We need it for the celebration of the work. For the ideas. To shape and focus the industry agenda. We need it to logistically get people in one place at one time. For the opportunities to reconnect with old colleagues and friends – and make some new ones. Because it reminds us of what we do when we’re at our collective best. We need it for all those reasons, and many more besides.

I used also to think that we needed Cannes to show us the future – but I don’t think that’s the case anymore. Because the future has arrived already. We are living inside it.

My take on the vibe at Cannes Lions 2025 was of an industry not bracing for a future to come, but rather one wrestling with the reality of its arrival. It was a thought that dawned on me Tuesday whilst I was talking with a long-time industry acquaintance; that the future has moved from being something rushing towards us – into something that now lies behind us. It simply moved faster than our ability to keep pace with the changes it wrought. And now we’re playing catch up.

And so here we were. Navigating together the shared reality of our transformed world.

There was no better example of this new reality than YouTube’s presentation in the Palais des Festivals cavernous Lumiere Theatre. Less a presentation than a victory lap, the streaming platform’s CEO Neal Mohan shared with the audience that a billion hours of YT are watched daily on television sets – YouTube is the new TV. With Kaizen – the story of Inoxtag’s Everest climb – he suggested that YouTube creators are also now the new Hollywood start-ups.

Alongside creator content’s expanding influence over the industry is the halo of fan content that accompanies it – often in podcast form. Mohan shared that 1bn people watch a podcast every month on YouTube, noting the power of the connection between creators and fans – observing that “fans don’t follow culture, they shape it … fandom itself is a form of creative expression”.

Brands need not miss out on the action. Chicken Shop Date’s Amelia Dimoldenberg and Call Her Daddy host Alexandra Cooper were on hand to announce the launch of ‘open call’ – a new feature powered by YouTube BrandConnect, which enables brands to discover and partner with creators.

In a blog post, YouTube notes that “Open call gives creators of all sizes the opportunity to pursue new relationships with brands. And brands can lean on the relevance and trust of YouTube creators to get more from their social strategy on YouTube.”

Amelia and Alex put it more bluntly: creators can “take the middlemen out” and work directly with brands.

I was left in no doubt about the popularity of creators as the audience began to swell on the Palais’ Terrace Stage Wednesday, not for the excellent daily festival lowdown from Contagious’ Alex Jenkins and Chloe Markowitz – but for the following session featuring TikTok’s Global Head of Business Marketing and Commercial Partnerships Sofia Hernandez in conversation with creators Keith Lee and Logan Moffitt – the latter rocked to fame earlier this year with this viral cucumber salads.

It was bedlam.

Again, that sense that I was sat in a future that had already arrived.

We’re living and working in a world in which creator culture has supplanted the advertising model, in which streaming distribution has overtaken the broadcast model, in which clicks from search engines are declining as the foundations of search evolves – all of it powered by the invisible hand and accelerating force of AI (I got 650 words in without a mention, people).

In response, brands and marketers have changed their strategies and approaches to media and marketing.

Duolingo’s Emmanuel Orssaud described how the platform eschews the conventional integrated model (too expensive, trying to do too many things, doesn’t get people talking) in favour of a social-first model where 30% of all spend is focussed not on proven effective comms but on “figuring out what else will work”. They’re expanding next into long-form content with a Duolingo Gameshow, and an anime series.

It echoes Liquid Death CEO Mike Cesario’s comments on last year’s Cannes Lions Creative Impact stage in which he shared the brand’s category-redefining approach to marketing. The brand focusses on standing out and being entertaining. The only game in town for Liquid Death is capturing attention, because “if you can get people to stop and look at your product, you’re already ahead of 99% of the market”.

Even the vibe of the awards competition this year felt like a body of work negotiating with itself. The customary smorgasbord of brands’ ideas and innovation were competing with – and often losing out to – their own past body of work.

New campaigns for Apple competed with ten years’ worth of the ‘Shot on iPhone’ campaign’, while Dove’s 2025 entries vied for metal with ‘Real Beauty for Dove’ – a 20-year-long body of work for the brand.

As Contagious’ Alex Jenkins put it – it’s a bit like bringing a gun to a knife fight.

One juror in a post-panel discussion shared with me that brand campaigns competing with the whole back-catalogue of others caused a fair bit of debate. I bet it did. The same juror indicated that they would be referring the issue to Cannes Lions. I can’t imagine it will be allowed to happen again.

So it turns out that the hero of Cannes Lions 2025 wasn’t innovation or ideas, nor was it comms platform vs tactical campaigns, or creativity vs tech or ads vs content or anything vs anything else.

The hero of Cannes 2025 was change itself.

Along La Croisette and in the Palais and everywhere in between was an industry grappling not with the future to come, but with a future that now lies behind us. The current source of unfair advantage is being able to marshal your resources – be they marketing, agency, creator, or anything in between – to leverage better than your competitors the world around you.

It’s tempting to suggest that it was ever thus; but we all know, deep down, that it’s never before been like this.

On stage in the Omnicom Space, Malcolm Gladwell noted that “There is a nobility in failure. [and that] the stories of failure are the most compelling stories that are not being told. The costs of trying crazy shit are not nearly as high as people think. This is exactly the moment to be trying crazy shit and failing!”

Or as Mercado Libre CMO Sean Summers puts it, “The industry is facing a tsunami. The biggest risk, is not taking a risk.”

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I’ll be publishing more thoughts and perspectives from last week’s festival. Subscribe to catch the rest as soon as it drops.

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advertising, content creating, creator-ing, predicting, streaming

Streaming’s First Decade: Three Predictions I Got Right – and One I Called Totally Wrong

It’s been ten years to the month since Netflix launched in Australia (where I was lucky enough to be working at the time). A decade on, it’s worth reflecting on what’s changed, what I called right, and what caught me (and the industry) off guard.

There’s been some great commentary from Tim Burrowes both via Unmade (paywalled) and on the MediaLand podcast about the impact of the streamers on the broader media landscape down under. In a Mediation post back in 2014, I made some predictions about what the arrival of streaming would mean for marketing in Australia, and the broader media landscape.

I think I mainly called it right.

Three Out of Four Ain’t Bad: Three Predictions That Nailed It (and One That Didn’t)

Prediction one: “In the immediate term there is undoubtedly going to be a firestorm for views and scale – brace for plenty of press releases in the first quarter of 2015 about content deals, views and reach. in the medium term this will play out in a battle for content – with many shows already locked away in local deals, there will be fierce competition between the platforms as distribution rights cycle into play.”

Verdict: Totally called it. The fight for content has not only played out between the streamers, but more broadly across the industry as legacy broadcasters and streaming platforms battled for the content that will drive and retain subscribers. In Australia that battle continues to this day, with the launch of Max on Monday locking HBO’s content library onto the platform – and the arrival of ESPN on Disney+ introducing an additional potential bidder for many of the market’s upcoming sports rights negotiations. Content has, for the last decade, remained king and has been a key defining element of the success – and conversely the struggles – of the streaming platforms.

Prediction two: We’ll see “a radical shift in viewer expectations. more choice, more freedom to choose what we watch and where, how and when we watch it. This future has been a long-time coming and has been with some for much longer than others”.

Verdict: Two for two. If anything has defined streaming’s impact, it’s the expectation of choice, on demand. That expectation has spilled beyond streaming—into podcasts, and even cinema. The streaming age taught many of us that, for the typical movie, it was easier to wait and watch at home – a behaviour reinforced by ever-reducing windows between theatrical and home release.

As the Entertainment Strategy Guy put it in a recent post, we’re drawn to the cinema now for ‘events’; “the actual most popular “genre” isn’t really a genre, but a style: exciting. People go to the movies to see spectacle, which often means action or exciting set pieces …18 of the top 25 films [in the US 2024 box office] have a lot of action set pieces. (Even Wicked ends with one).”

Prediction three: “With increasingly fragmented and diverse platforms and viewing services, advertisers and their agencies will increasingly rely on programmatic solutions to build reach quickly.”

Verdict: Absolutely. Over the past decade, programmatic advertising has transformed the industry by enabling real-time bidding, automating media buying, and enhancing targeting capabilities. On one hand, this shift has driven greater efficiency, has undoubtedly improved ROI, and empowered marketers to deliver more personalised experiences. But it’s also led to concerns about transparency, data privacy, and brand safety – not to mention the broader impact of an over-reliance on short-term, performance-based media on brands and long-term brand-building. It’s all our jobs to ensure we build tech that will serve us better over the next – AI-powered – decade, than we did for the last.

Prediction four: “Many advertisers and ad agencies will finally be forced to break out of the ‘advert’ model – using instead platform-neutral content strategies that can adapt to platform and context more quickly – generating more relevance for brands’ comms. think native content in video form.”

Verdict: So this one is a lot less clear. I genuinely thought back in 2015 that the industry’s long-held affinity for the ‘advert’ would wane. I thought the classic ad, so effective in the broadcast age, wouldn’t survive in a streaming world; a world in which tolerance for content interruption would be significantly reduced.

I was genuinely wrong on that. The power of the ‘ad’ holds sway to this day. The industry didn’t wholesale move on from the ad. It didn’t predominantly leverage more diversified content and ideas-based marketing to create fewer, better, more transformative experiences for audiences.

Too expensive. To difficult to scale and measure. Too hard.

Only it wasn’t.

Because while the industry remained predominantly stuck in ad-land, the last decade has seen a content revolution that has more than delivered on my prediction of ‘native content in video form’.

Native Creators: The Creator Economy Delivered What Marketing Didn’t

In parallel to the growth of streaming over the last ten years, the creator economy had, by 2023, blossomed into a $250 billion industry. This expansion is projected to continue, with estimates suggesting the market could reach $480 billion by 2027.

A report last year (admittedly from YouTube) found that an astonishing 65 percent of Gen Z responders self-identified as video content creators. The number of content creators worldwide has surpassed 200 million, reflecting the increasing appeal of content creation as a profession. The market for global influencer content has more than tripled since 2020, reaching approximately $33 billion in 2025.

It seems trite to point-out that this incredible growth – and it is incredible – is largely down to the fact that creator-made content is typically significantly more engaging than traditional ‘adverts’; it feels authentic, personal, and tailored to specific communities … because it IS authentic, personal, and tailored to specific communities.

Audiences tend to trust creators they follow, viewing their recommendations as more genuine and relatable than polished brand messaging—leading to higher attention, interaction, and emotional connection.

The prediction I made a decade ago suggesting that the industry’s ad-venture would come to an end was correct, it just turned out to be a generation of creators – powered by platforms like YouTube and latterly TikTok – that delivered on that strategic opportunity of ten years ago. The great irony of course is that advertisers did end up being an integral part of this creative content revolution; they were the money.

In other words, it wasn’t the brands who changed the game—it was creators and their audiences. And it’s that shift – from ads to creator-audiences – that will define the next decade of streaming.

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conferencing, innovating, machine learning, marketing, retailing, trending

Embracing the Agentic Age: What Mobility Commerce tells us about the Future of Marketing

AI in Everything, Everywhere, All at Once

Walking the convention floors at CES last month, it was impossible to ignore the bigger, brighter screens, smarter cars, more intelligent home devices, and increasingly agile robots. There was a bit more of everything, everywhere, and – because of the impact of AI – it’s all happening at once.

Technologist Shelly Palmer has suggested that “2025 is the year of the realization of AI’s promise,” and it’s hard to disagree. Artificial Intelligence has shifted from hype to reality, becoming deeply embedded in consumer electronics, interactions, and commerce.

Samsung’s SmartThings appliances displayed on the showfloor at CES

Samsung’s SmartThings Automotive now seamlessly connects EVs to broader smart ecosystems, while Richtech Robotics’ autonomous delivery robots are redefining service efficiency. Meanwhile, LG’s AI home hub and Samsung’s Home AI System illustrate how intelligent agents are integrating into everyday life, transforming how we live, work, and move.

But the most pivotal force behind this revolution is Nvidia. At CES, they launched their RTX 50 GPUs, pushing AI-driven gaming and content creation to new heights. They also introduced the Cosmos family of foundational AI models, designed to train humanoid and industrial robots, as well as vehicles for autonomous mobility. The era of agentic AI is here.

The Emergence of the Software-Defined Vehicle

The automotive industry is undergoing a fundamental shift, evolving from hardware-driven machines into software-defined experiences. Nvidia’s Cosmos AI model is at the forefront of this transformation, enabling advanced self-driving capabilities. Trained on 20 million hours of human activity footage, it generates photorealistic simulations that help self-driving cars better understand and navigate real-world environments.

By leveraging synthetic data, developers can train AI systems more efficiently and cost-effectively, reducing reliance on real-world testing. Companies like Uber are already using Cosmos to accelerate their autonomous driving efforts, while Waymo expands its self-driving taxi operations and Honda’s ASIMO OS introduces “ultra-personalized” vehicle interfaces powered by over-the-air updates.

This shift has given rise to the software-defined vehicle (SDV), where traditional metrics like horsepower and acceleration take a backseat to comfort, connectivity, safety, and sustainability. SDVs—along with their supporting ecosystems—were everywhere at CES, signaling a future where cars are more than just a mode of transport; they are destinations in themselves. Think relaxation spaces, content hubs, gaming centers, and even commerce platforms on wheels.

The New Marketing Canvas of Mobility Commerce

Mobility commerce is fast becoming a frontier for innovation, and CES showcased the technologies set to power it. Take SoundHound AI’s voice-based commerce platform, for example—it allows drivers to order food, pay for services, and access real-time data directly from their car’s infotainment system.

The SoundHound booth at CES demonstrated a custom voice commerce ecosystem

AI-powered interfaces like these go beyond convenience; they enhance the ownership experience while unlocking new revenue streams, increasing the lifetime value of car owners. As vehicles become personalized media and commerce hubs, they create fresh opportunities for brand engagement.

In-car voice assistance is also evolving into richer, multidimensional conversational experiences. The private environment of a vehicle provides a unique space for seamless content consumption and commerce through natural voice interaction. This not only enhances the driving experience but also presents new possibilities for marketing—delivering contextual recommendations and unlocking new monetization models.

Marketing in the Agentic Age

The SDV is just one example of how the agentic age—a world navigated and intermediated by AI agents—is taking shape. The marketing implications are profound.

With AI automating interactions across search, content discovery, and customer service, consumer journeys are increasingly shaped by AI-driven recommendations. Whether through home assistants, automotive voice interfaces, or AI-powered search engines, customers will increasingly rely on digital agents to make decisions for them.

For some categories and brands, this means marketing directly to AI agents. Yet, human engagement remains critical. Brands now have unprecedented tools to create Generative AI-enhanced marketing experiences, from producing high-impact advertising that was previously cost-prohibitive to delivering hyper-personalized web experiences.

AI-powered assistants and avatars can guide potential buyers through product discovery, offering dynamic, customized interactions. The ability to generate tailored content at scale will be a major competitive advantage in this new era of AI-first marketing.

The Evolution of Search and Brand Discovery

Search is evolving at an unprecedented pace, moving beyond keyword-based queries to AI-driven, solution-focused interactions. Consumers are shifting from traditional search engines to AI assistants, social commerce, and e-commerce platforms for discovery.

According to Omnicom Media Group, nearly 40% of consumers in key markets now use LLMs like ChatGPT for search, while 76% rely on platforms like Amazon. Even smart TVs are emerging as search engines, enabling users to browse content via AI-powered voice commands. Meanwhile, consumers no longer rely on a handful of trusted reviewers; they can query and analyze reviews across multiple platforms using AI.

This shift demands a fundamental rethink of visibility strategies. Traditional SEO is no longer enough—discovery now happens across a fragmented ecosystem, from social video platforms to generative AI assistants. Brands must focus on “share of model” (how often they are referenced in AI-driven search results), deploy LLM-specific tracking, and optimize structured comparison data for AI crawlers.

Transforming the Marketing Experience

The shift from SEO to GEO (Generative Experience Optimization) is just one part of a larger marketing transformation, which was on full display at CES. As homes, vehicles, and workspaces move from smart to intelligent, the entire landscape of brand discovery, purchase, and experience is evolving.

2025 is set to be a landmark year for AI, search, creator-led marketing, and innovation. As these trends redefine consumer expectations, brands must adapt their marketing strategies to align with a world where AI, personalisation, and digital-first experiences drive engagement and growth.

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debating, opinionating

Getting Back to Business: Choosing to change and inheriting media’s place in the boardrooms of Australia

MFA 5+ Talking Business

it was down to the serious business of, well, business yesterday morning, as the MFA hosted the next of their 5+ inspiration series. created for those in the Australian media industry with between five and ten years experience, the sessions expose those in the formative years of their media careers to inspirational individuals who encourage them to understand the opinions and experiences of others, and crucially discover and develop their own.

yesterday morning we were talking business and we were in the capable hands of former NBN boss Siobhan McKenna and finance reporter, broadcaster and commentator Michael Pascoe.

across two hugely inspirational (obvs), informative and entertaining talks they gave a bunch of media people everything from economics 101 to reasons why media should inherit a place at the boardrooms of Australia; I wrote a lot during the former and was encouraged by the latter. and over the course of the last day or so I’ve been thinking most, it occurs to me, about not so much business, but rather one of the key themes currently impacting on it; the nature of change.

because the world is changing

the G7 economies decline and the emerging economies take centre stage; there is only one work force and its global; urbanisation continues to drive and maintain commodity industries as well as infrastructure rethink; aging populations … these factors and more have seen disruption and change become the new normal – disruptive technological storms continue to challenge, and change, the world as we know it, or at least thought that we did.

because business context is changing

all of which has more than a small impact on (our clients’) business. it’s never, observed one of the speakers this morning, been a tougher or more competitive time to be in business. the example of Darrell Lea was cited: they didn’t go out of business because of a product or service deficiency, they went out of business because the industry premiumised at one end and commoditised on the other and they failed to change and got caught in the middle. and the middle, at least in business terms, is a terrible place to be.

business is changing.

because we need to change

which means that we need to change. of course.

but it struck me at the time, that the obvious response was and is one of ‘organisational’ change; “agencies need to change, the media and communications industries need to change. ‘we’ need to change. our bosses and our holding companies need to change.”

but that’s simply not the case. organisational change is slow, hard and frustrating. Jacko knew this:

“If You Wanna Make The World A Better Place Take A Look At Yourself, And Then Make A Change”

source

as Melbourne-based organisational psychologist (who knew?) Simon Brown-Greaves see’s it: “there are people who’ve been through a lot of change and learn to adapt, and become less anxious as a result … and commitment and hard work have taught them that change presents opportunities” and then people who are “optimistic and confident in their ability to handle challenges … who actually enjoy change … [they’ve] learned that moments of great change are when you get ahead; senior managers look favorably on people who revel in change.”

to embrace change, is to change.

media’s inheritance

… is one of taking a valued and valuable place at the biggest business conversations in Australia. as it was put yesterday: “don’t underestimate your capacity to advise your clients. and and aspire to be leaders in the business community … [media people] don’t aspire to enough prominence and visibility in the business community. every board has an accountant, and lawyer, and someone with Asian experience”; there’s no reason why they shouldn’t be joined by high calibre media practitioners with deep understanding of emerging digital routes to market and understanding of consumer motivations and behaviours.

but its not ours for nothing. and its not ours for free. the responsibility of our would-be inheritance is one of change – as individuals. the media industry can have a voice at any table it wants, but only if we choose it. and only if we choose to change.

if yesterday’s MFA event did nothing other than encourage a few individuals to take personal responsibility to embrace the opportunity presented to us and change … then it will have achieved it’s mission, and a great deal more besides.

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