Gillette Calls On ‘Justice League’ VR Game To Promote Razors

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Gillette has partnered with Warner Bros. Pictures’ Justice League in a marketing campaign that spans a free mobile virtual reality game, Justice League VR: Join the League – Gillette Edition, a location-based VR experience at IMAX Centres that will come to high-end consoles and PCs as a retail game in December.

The promotion, which also involves a YouTube social campaign, features exclusive shaving products for men and women alongside DC superheroes from the November 17 theatrical release of Justice League starring Ben Affleck as Batman, Henry Cavill as Superman, Gal Gadot as Wonder Woman, Raymond Fisher as Cyborg, Jason Momoa as Aquaman and Ezra Miller as The Flash.

Gillette changed its tag line from, “The Best a Man Can Get” to “The Best a Super Hero Can Get,” as it brings DC characters like Batman, Superman, Cyborg, Aquaman, The Flash and Wonder Woman into its Advanced Grooming Studies labs, which is the focal point of the video spot.

“This video not only gives fans a behind-the-scenes look at what that world may look like, but also serves as a catalyst for us to ask influencers and fans globally to submit their own theory on what Gillette’s R&D teams should be considering when creating this next generation of razor technology,” Barbara Diecker, communications manager of Gillette North America, told AListDaily. “We know comic book fans especially will have strong opinions here, and we look forward to hearing them.”

Gillette also has six limited edition Justice League licensed gift packs at retail, ranging from $10 to $15, including Mach3, Sensor3, Fusion5, ProGlide 2-in-1 Shave Gel, Hydrator Body Wash and Gillette Clear Gel antiperspirant deodorant branded products. Wonder Woman opens up a female marketing target for the company through its Venus Swirl brand.

Gillette, which targeted esports fans at the Intel Extreme Masters Finals in Katowice, Poland earlier this year, has worked with developer Warner Bros. on a new mobile VR game for Apple and Android devices. This demo version of the December retail game features 90 seconds of gameplay for each of the Justice League characters. Players can drive the new Batmobile, take on a giant sea creature as Aquaman and destroy enemy drones as Cyborg.

Diecker said this VR game has allowed the brand to work with Warner Bros. to create immersive simulations of a day in the life of a superhero.

“With these VR elements, fans can also see the types of extremities that superheroes must face on a daily basis,” Diecker said.

Both Gillette and Warner Bros. are promoting this VR game across their social channels and influencers. Gillette is using its Twitter account to further enhance the VR experience this fall.

Warner Bros. previewed the HTC Vive version of Justice League VR: Join the League at New York Comic Con earlier this month. In December, the VR experience comes home with an expanded Justice League Virtual Reality: The Complete Experience. This paid version of the game will support controllers, spatial tracking and room scale tracking, depending on the platform. It will ship for Vive, Oculus Rift, Samsung Gear VR, Google DayDream and Sony PlayStation VR.

An IMAX VR: Justice League Experience will also be out and playable at IMAX VR Centres beginning on November 17. IMAX will get a two-week exclusive on the game before the home versions are released.

Gillette products will not be featured in the theatrical film. The VR games and online video offer alternate avenues for the brand to connect with DC Comics fans and gamers.

Stranger Things Lens Pulls Snapchatters Into The Upside Down

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Netflix is transporting fans back to the Upside Down today with Season 2 of Stranger Things and has unleashed a bevy of activations to make sure that the general public never forgets. After unorthodox marketing like character-driven pedicabs and personal, targeted spoilers on Twitter, the streaming service culminated its promotion with a Stranger Things Lens on Snapchat, using augmented reality to immerse viewers.

Turning on the Lens presents the user with a gloomy, suspicious doorway, inviting them to step inside. Once they do, they are presented with a faithful recreation of the Byers living room from the show, complete with desperately twinkling Christmas lights and Demogorgon claws grasping from a portal to the Upside Down, all to the pulsing, downright Pavlovian ’80s synth theme song.

The soundtrack plays another role in the Lens: users can only unlock it by using Snapchat’s Shazam feature on the show’s theme song. Beyond just an immersive environment and spooky ambiance, the Stranger Things Lens promises interactive easter eggs for eagle-eyed users.

There are also a trio of filters for those who want to take a selfie with Eleven’s trademark nosebleed or from the Upside Down, but unlike the Stranger Things Lens, no hoop-jumping is necessary to unlock them.

Netflix is no stranger to hiding clues and secrets in their promotional materials. The streaming service put up billboards for a fictional power company, with a working 1-800 number that plays a vaguely unsettling message when called.

Less secretive were the streaming service’s numerous merchandising efforts, from conventional offerings like toys and a VHS-lookalike box set of Season 1 to appearances at Louis Vuitton catwalks during Fashion Week UK in September to a collaboration with Sony on official Stranger Things Ghostbusters Reeboks.

Actually, Netflix wasn’t the first company to promote the new Stranger Things season with a virtual experience: Farmers Insurance unveiled a creepy VR haunted house on October 13, featuring spooky stories about some of their “unbelievable claims” as told by J K Simmons.

Farmers may have shared unbelievable stories, but Lyft’s partnership with the Netflix show created them. Several Lyft cars were outfitted with flickering lights and animatronic claws to terrify unsuspecting riders, who were finally accosted by men in hazmat suits offering Eggo waffles through the open window.

It’s no surprise that so many brands jumped at the chance to work with the record-setting thriller series. Excitement for the show has reached a fever pitch that simply including the phrase “Stranger Things” in the subject line of an email nearly doubles engagement. If—but more likely when—the show gets a third season, Netflix may need to move mountains to outdo themselves.

‘Assassin’s Creed: Origins’ Campaign Combines History And Humor

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Assassin’s Creed: Origins takes players to Ancient Egypt—49 BCE, to be exact—to explore the biggest world created for an Assassin’s Creed game. Egypt has captured the world’s imagination for thousands of years and Ubisoft is leveraging that wonder for its Assassin’s Creed campaign, without taking itself too seriously.

While the campaign has has focused on Bayek, Assassin’s Creed: Origins‘ main character, the star of Ubisoft’s efforts have been Egypt, itself—or rather, how much fun it can be. In case the prospect of sliding down the side of a pyramid wasn’t enticing enough, Ubisoft released a video called “Tales From The Tomb,” an animated short that brings real Egyptian wall art to life and imagines what they might be talking about, from the new assassin in town to candy weapons and aliens.

Ubisoft teamed up with Smosh Games to create a three-episode series that delves deeper into real-life Egyptian culture.

“Operation: Open World” surprises Smosh Games hosts Mari Takahashi and Joshua “Joven” Ovenshire with a trip to Egypt. Together, they explore the pyramids and landmarks that are recreated in Assassin’s Creed: Origins and learn about the region from spices to animal life and of course, mummies.

“While trailers and influencer gameplay are still cornerstones of our online content, [Operation: Open World] provides the opportunity for us to tap into a larger lifestyle conversation across both gaming and travel audiences,” Adam Novickas, vice president of marketing for Ubisoft, told Marketing Daily. “This is a departure from our past—predominantly historically grounded, more serious gameplay content and reflects the more casual and relatable entry point to our brand that we’ve started to develop.”

Late-night comedian Conan O’Brien and Green Bay Packers quarterback Aaron Rogers sat down to play the game on “Clueless Gamer,” a popular gaming segment for the Conan show. Despite not actually being a gamer himself, O’Brien managed to accidentally trigger a developer-only mode that let him fly through the air, and as usual, has no idea what’s going on.

Promotional crossovers aren’t unusual, but it usually occurs within games from the same publishers. Square Enix partnered with Ubisoft to create “Assassins Festival,” a free addition to Final Fantasy XV, available from August 31 to January 18.

Sneaker artist Dominic Lowman of Carmeno Custom Kicks worked with Ubisoft to design limited-edition Yeezys inspired by Assassin’s Creed: Origins. The hand-painted, limited-edition kicks are only available as prizes through the official Assassin’s Creed social channels.

Ubisoft may not be afraid to have a little fun at Ancient Egypt’s expense—or take liberties with historical characters—but it’s taking it seriously, too.

The publisher worked alongside Egyptologists to capture the look and feel of Cleopatra’s homeland and is developing AI to further scholars’ understanding of the language. The Hieroglyphics Initiative uses machine learning to collate, catalog and translate hieroglyphics, with the first findings scheduled to be released by the end of the year.

For those who just want to look around, a new combat-free education mode allows players to explore Egypt through guided tours curated by historians. “Discovery Tour” will cover topics like mummification, pyramids and important figures from the era. The new mode will not be released until next year, but it’s free to download.

Speaking of learning, more than 30 college and university campuses across the US are hosting a launch event sponsored by Assassin’s Creed: Origins and Monster Energy. Depending on the school, the events will offer hands-on time with the game and Assassin’s Creed: Origins-themed prizes.

Intel, Mandt Execs Discuss VR Livestreaming’s Potential For Brands

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Virtual reality technology is impacting practically all forms of entertainment in various ways, including video games, music, film and television. However, the area where the technology may have the biggest impact is with live events such as musical performances, awards shows and sporting events. Users can livestream these events in VR and feel as if they’re there in person, and the virtual nature of the experience opens up numerous opportunities for marketers and advertisers.

Intel has been a strong proponent of VR on multiple fronts, from gaming to sports. The technology company used the first year of its three-year partnership with MLB to test the flexibility of the Intel True VR platform by integrating different components into the fan experience. These include features such as real-time stats, pitcher and batter data, exclusive commentary and additional camera angles that leverage the unique features of each ballpark to deliver an in-stadium feel.

Intel also collaborated with the PGA Tour during the summer and strategically placed VR cameras in the water near the iconic 17th hole at TPC Sawgrass to capture the drama. In September, Intel and the PGA announced that they’d continue the collaboration and expand their VR coverage.

Similarly, Mandt Media (formerly Mandt VR) specializes in creating VR and AR content for partners such as Disney, the Pittsburgh Steelers of the NFL and IndyCar. Founded by Emmy Award-winning producer Neil Mandt, the media company has brought events such as the World Hip Hop Dance Championship finals to VR in partnership with Hip Hop International.

AListDaily sat down with Sandra Lopez, vice president of Intel Sports, and Neil Mandt, CEO and founder of Mandt Media, to discuss the marketing opportunities livestream events have in VR, and the best ways for brands to take advantage of it.

Sandra Lopez, VP of Intel Sports

How would you say VR livestreaming compares to traditional livestreaming?

Lopez: In many ways, a VR sports livestream resembles a traditional sports broadcast. We have broadcasters for play-by-play and color commentary, and users have access to the traditional displays and statistics they’ve known their whole lives. At the same time, however, VR delivers a more immersive experience—whether as supplemental to the traditional viewing experience or as a way to bring the stadium experience to those who can’t be there in person. Short of buying a ticket and attending a game, this is the closest you can come to sitting courtside or on the 50-yard line. VR allows the fan from all parts of the world to feel what it’s like to be on the field or court from the best seat in the house.

Mandt: I look at it in a number of ways, because VR is something in the goggles. When you have it on, you’re having a VR experience. However, while a lot of brands and companies that are doing VR livestreams—a majority of their audience can’t watch them using goggles. They’re watching on mobile phones as a 360-video. So, the opportunity is great, but the brands need to consider what the ultimate distribution is going to be for the content. They need to consider the end user experience. Distribution in VR is complicated right now; the Oculus Rift, HTC Vive, Samsung Gear VR and PlayStation VR don’t all talk to each other, but all mobile phones do.

How can brands and events benefit from VR livestreaming?

Lopez: Consumers are demanding more immersive experiences. According to a study by Greenlight VR, 71 percent of consumers agreed that brands that sponsor VR events are forward thinking and modern. Brands that adopt VR will not only continue to be relevant with their target audience, but will also have the opportunity to more deeply engage with their consumers. VR is a tremendously inclusive and immersive experience, and one that enables brands to draw a global audience into an intimate, VIP setting. From product launches, to conferences to big games, consumers care about experiencing important events live, and VR offers a novel way for brands to connect with their existing audience in a personalized setting while reaching a new group of consumers that can’t attend an event in person.

Mandt: You have a bigger pallet to play with. In a 2D world, you would only have that specific view. As a 360-degree piece of content, you have the entire sphere to play with. So, there are opportunities to put your brand’s marker within the content in an organic way that’s non-intrusive, but allows for a continuous viewing throughout the piece. Right out of the gate in VR, a lot of people are using the bottom [floor] to put a plate with the brand logo on it. That may be too much for some people, and they may decide to put it on the side or the back, but you have a bigger sphere to play with just to put your logo. So right there, your brand presence can be in the piece in a softer way.

Neil Mandt, founder and CEO of Mandt VR

What can brands do in VR that can’t be done on a 2D screen?

Mandt: VR offers a periphery that does not exist in the 2D screen we’re used to looking at. The floor beneath you is a new area. It’s not something that you’re used to looking down at in a 2D experience, and a logo at the bottom is less intrusive to your storytelling than it would be behind you or to your side because it’s not in your normal field of view, it’s in your periphery. Putting it there does not affect the story but allows for engagement. It’s also layered on the internet, so it’s clickable using eye gaze to activate it. This is going to become more common as augmented reality takes over.

What would you say is the difference between a live VR experience and pre-recorded ones?

Lopez: Like any live event, a live VR experience is naturally unpredictable and requires a full production team to ensure everything runs smoothly. Pre-recording a VR experience eliminates many of the variables inherent to a live broadcast, but ultimately, the technical quality of the VR experience is the same. The main difference is simple—sports is best consumed live. Highlights look tremendous, but the thrill of a live game can’t be beat.

Is there a difference in how a sporting event should be presented in a VR livestream compared to award shows?

Lopez: Whether you’re broadcasting a game or an awards show, it’s essential to consider the needs of your audience. Games require broadcasters, scoreboards, close-ups, wide-shots and replays. Awards shows have a different set of needs. At its core, the technology is the same, but there’s an artistry in tailoring a broadcast to fit a specific audience. It’s not dissimilar from the basic principles of storytelling—who is your audience, why should they engage with your brand and how can you deliver a compelling experience that is worth their time?

Mandt: Yes, because sporting events are complicated. I know people are excited about sports in VR, and I come from a sports background, so I certainly am too. But the biggest problem with VR is distance to subject. If you’re too far away—beyond 15 feet—it can get soft fast. If you look at that same content on a mobile phone, things get small—quickly. In sports, getting the camera close to the action is inherently difficult, like with baseball. You can’t zoom well in VR. Some cameras can, but the quality isn’t where it needs to be yet. Whereas other sports like IndyCar, the camera can be in the car, so you’re close to the action. As opposed to an awards show, where cameras can be close to the stage. You can place the cameras in an award show where they would be acceptable, wouldn’t be in the way, and give users a sense of presence. Obviously, the biggest difference between VR and 2D livestreaming is presence—where you’re immersed in the experience and have a sense that you’re there.

Blake Rowe, from Intel True VR, jumps in to the water at the 17th hole at the Sawgrass Open to check on the Intel True VR camera. (Credit: Intel Corporation)

What kind of impact does VR livestreaming have on advertising?

Lopez: The advertising industry is super creative, and VR provides the opportunity to further expand upon their creativity. While VR is still in its early stages, the technology represents a new frontier of advertising. These are exciting times—brands and advertisers have the opportunity to work together to deliver immersive media experiences that will more deeply connect with consumers through exciting and personalized experiences.

Mandt: I think we’re in an equivalent time period to 1950s television in every respect. Not only is the storytelling new in VR, but the branding is new. If you go back to 1950s television, you have a lot of things that were wholly sponsored by brands, like the Texaco Star Theatre comedy hour starring Milton Berle. I think you’re going to see a continuation of that in early VR content, where the brand is present in being part of content. Their name will be associated with the content and they will look for content that’s organic to their story. Sometimes it will be branded content and other times not, as far as telling their specific story, but it will have an emotional connection to what they are at all times. I think you’ll see their names on things more in the coming years, similar to what we saw on TV.

How do you think VR livestreams can be further enhanced?

Lopez: Like any relatively new technology, VR experiences will continue to improve over time. Video quality will crystalize, headsets will shrink and as consumers continue to adopt VR, crucial feedback will enhance the user experience.

Mandt: I think we’ll see a combination of VR and AR coming together, where through eye gaze, you’ll trigger content. You’ll look over things like a Coke can, see that it’s triggerable and they’ll be activated. That will be enough for brands—simple looks. I think we’re going to quickly get past the plate on the bottom and you’ll see full-sphere with careful placements of their marks throughout it. I think that’s the way brands are going to do it. They’re going to make sure that the brand organically exists in VR and can be activated if a person looks at it. People will learn about the triggers, and they won’t look at them until they’re ready to commit. So, the whole time they’re watching a show, they’re aware that there’s another experience waiting for them when they’re ready. You’ll see a lot of eye-tracking data, where people will look at whatever the target is multiple times before they agree to engage with it and watch whatever that mystery content is. I think it’s a huge opportunity for brands to be front of mind for people as they’re watching content while not being distracting.

What should brands keep in mind if they’re interested in livestreaming events in VR?

Lopez: The most important thing to keep in mind is the user’s experience. Think—’if I was watching this, what would I want to see and experience?’ and work backward from that point. We’re striving to enhance the fan experience. Take our MLB VR broadcasts, for example—this summer we added our own VR commentators, picture-in-picture overlays, player cards and live stats. It sounds small, but it makes a huge difference for the fan. This technology is improving every day, and we’re excited about where it’s headed.

Mandt: Keep it simple. You don’t want to go crazy and negatively impact the story. You have to think about the way people are used to watching a story. While there is a 360-degree sphere, you have to keep in mind that most people are not in spinning chairs. They’re sitting down and anchored—their brains want to be anchored—so you shouldn’t make them unnecessarily move around. They’re going to use the periphery of VR for an enhanced experience, but the center focus of the story should still be in front of them, and they need to find an organic way for their brand to be activated within the normal sight line of what the viewer is experiencing.

Stranger Things Elevates Messaging; Amazon Music, Ads Advance On Frontrunners

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Excitement about the second season of Stranger Things can drive interest in unrelated products, according to a study by Mailjet. Email messages using Stranger Things as a hook drove 74 percent higher engagement in the US, and 10 percent higher in the UK.

The Halloween season in general holds potential for marketers, with emails mentioning the holiday in the subject line enjoying a 68 percent higher engagement rate.

Amazon is set to make a dent in the Google and Facebook duopoly, according to estimates by eMarketer. The online retailer’s ad revenue has increased by 48.2 percent this year, reaching $1.65 billion. Amazon is set to account for 3 percent of all digital ad spending by 2019 due to its faster growth than any other publisher in the sector.

Amazon’s music service is likewise closing gaps between other platforms. A report by MIDiA Research indicates that Amazon is now the third-largest music streaming service, with 16 million users and 10 percent of total market share.

An App Annie report indicates that mobile app revenue and downloads continue to grow, much of it coming from emerging markets like India and Southeast Asia. Combined installs on the iOS App Store and Google Play store increased by 8 percent over Q3 last year, reaching a total revenue of almost $17 billion.

Additionally, time spent using Android apps has increased by 40 percent in the last year, nearly reaching 325 billion total hours for the third quarter.

Digital advertising continues to drive the US ad market’s growth in Q3, according to a report by SMI. Online ad spending grew by 11 percent in the third quarter compared to last year, and 5 percent in September alone. By contrast, television spending fell by 11 percent in the same period.

Splitting the segment further, local TV advertising increased by 14 percent, while national broadcast and local cable dropped by 5 percent and 12 percent, respectively.

Generations Y and Z are purchasing much more luxury goods, a report by Bain & Co. found. The global luxury market is estimated to grow by 5 percent this year, a full 85 percent of which is due to increased millennial spending.

“This power shift between generations, away from the baby boomers toward younger shoppers, means the latter are now the growth engine of the market in every region globally,” said Bain partner Claudia D’Arpizio in an interview with The New York Times. 

Ad spending on visual social media has exploded in recent months, according to a report by 4C Insights. This quarter, revenue for Snapchat and Instagram rose by 73 percent and 55 percent, respectively, due in part to offline features added to both apps.

Pinterest, Facebook and Twitter saw growth as well—though not as dramatic—at 26 percent, 27 percent and 26 percent, respectively.

Despite recent hits to the NFL’s ratings, ad spending is still strong, as new data from Standard Media Index suggests. Total ad revenue for NFL games increased by 2 percent this September over the same month last year, from $504 million to $513 million.

Likewise, the number of ad slots purchased increased by 2 percent, and the price for NFL ads increased by 7 percent. All this comes in the face of 5 percent lower ratings this season, though recent natural disasters have contributed to fewer watchers.

New information from Nielsen has revealed that the fast-moving consumer goods (FMCG) market has seen minor growth in Q2 2017, reversing last quarter’s $3 billion loss in sales. According to Nielsen analysts, nearly all growth in the sector (up .06 percent this quarter) was driven by e-commerce, which makes up 7 percent of FMCG sales.

“Across total shopping trips, 14 percent of Americans say they consider buying online, which is up from 9 percent in 2015,” Nielsen reported. “Additionally, 33 percent more households are influenced by digital before they visit a physical store for non-food items than in 2015.”

Brand safety concerns are driving an increased interest in direct placement for digital ads, according to a new report by MediaRadar. The total number of brands placing ads programmatically has dropped by 2 percent from last year, with P&G and Unilever making substantially more high-CPM ad buys.

“Everyone is talking about transparency and brand safety,” says Todd Krizelman, CEO & co-founder of MediaRadar, to MediaPost. “In the quest for it, many of the world’s largest advertisers are shifting ad spend, and now spreading it across more than a dozen different media formats.”

More than half of Americans believe that fraud is an unavoidable part of ecommerce, according to a study by Paysafe. Of the 3,000 consumers surveyed, 59 percent agreed that fraud is inevitable, and 58 percent were willing to accept any security measure to protect them from it.

Higher security doesn’t hurt the shopping experience, either. Only 12 percent reported abandoning shopping carts due to delays caused by payment security, and 71 percent are open to stricter processes like two-factor authentication.

Businesses think the opposite: 67 percent say higher security would lead to higher cart abandonment, and 61 percent claim that their customers don’t want higher security.

(Editor’s Note: This post will be updated daily until Friday, October 27.)

Emirates Airlines Brings On Boredom Specialist; Amazon, Apple Hire New Creative Talent

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Emirates Airlines has created the position of “boredom specialist,” bringing on Dr. Sandi Mann to reduce the number of complaints by young children about the length of plane trips. The company has also released a special report to assist parents traveling with children keep them happy and entertained.

Amazon’s reality television department has a new executive leader in Heather Schuster, just hours after the previous head of unscripted programming, Conrad Riggs, left the company. Schuster has only been with Amazon since August of this year, after joining the company from Ryan Seacrest Productions.

Jay Hunt will be joining Apple’s Worldwide Video platform as creative director for the European region. She joins Apple after departing Channel 4 in June, having developed, among other series, the first two seasons of Black Mirror before it was acquired by Netflix. Additionally, at BBC One, she led creative teams for both Luther and Sherlock.

Over the next 18 months, Walgreens will close 600 of the close to 2,000 stores it acquired from Rite Aid in September. The affected locations will be now-redundant stores located within a mile of other Walgreens and Rite Aid stores.

GSN has hired Fran Shea to the position of executive vice president of programming and marketing after the recent departure of Amy Introcaso-Davis from the same role. Not only will Shea oversee all GSN productions, she will handle both network branding and messaging as well.

“Fran has an impressive track record of creating phenomenally successful and culturally relevant content,” said GSN CEO Mark Feldman. “Her creative vision and leadership will be critical to GSN as we continue to enhance our programming choices, both original and acquired, to engage our core viewers.”

Before joining GSN, Shea served at E!, where she briefly led the company as interim president.

Mike Hopkins, formerly the CEO of Hulu, has joined Sony Pictures Television. Replacing him will be Randy Freer, former Fox Networks Group president and current Hulu chief operating officer.

“Mike is a proven and innovative leader who has played a key role in redefining today’s television landscape, both for consumers and for how content producers reach them,” said Tony Vinciquerra, Sony Pictures Entertainment CEO.

Hopkins led the streaming service’s expansion into live programming earlier this year, and spearheaded efforts to grow the company’s slate of original programming. Before joining Hulu, he worked at Fox Networks as president of distribution.

LeeAnne Stables is leaving Paramount Pictures, where she served as president of worldwide marketing partnerships, to better care for her aging mother.

“LeeAnne is an industry trailblazer and tireless deal maker that has delivered amazing marketing value to our Paramount films over the years,” said Megan Colligan, Paramount’s president of worldwide distribution and marketing. “We respect her choice to leave at the end of the year, but our team will truly miss her talent, leadership and wit.”

Stables worked at Paramount for 12 years, heading marketing campaigns for five Transformers movies, three Star Treks and three Mission Impossible sequels. Additionally, she served at General Motors, where she was instrumental in the car manufacturer’s many partnerships with major film franchises.

After the sudden departure of Airbnb China’s vice president Hong Ge, co-founder Nathan Blecharczyk will be taking over operations in the region. Ge resigned from his position just months after his hiring, with little information given as to the reason.

“China is Airbnb’s fastest growing domestic market ever as well as our second fastest growing outbound travel market ever,” said the company in a statement.

Blecharczyk’s new title will be chairman of Airbnb China, though he will not be relocating to the region.

Ford Motor Company will undergo major global leadership reorganization, promoting Kumar Galhotra to chief marketing officer of the company. Both Stephen Odell, executive vice president of global marketing, and Bennie Fowler, group vice president of quality and new model launch, will be retiring.

“As we develop our strategy to become the most trusted mobility company, designing smart vehicles for a smart world, we will continue to reshape the organization to deliver the most value for our customers and all of our stakeholders,” said Jim Hackett, president and CEO of Ford. “The changes we are announcing today will further align resources and improve efficiencies throughout our global markets and operations.”

Coca-Cola North America president J. Alexander Douglas Jr. has announced his retirement. He will be succeeded by James Dinkins, current president of the Minute Maid business unit and chief retail sales officer for CCNA.

“Douglas has done a tremendous job of leading CCNA to a strong position,” said James Quincey, Coca-Cola’s president and CEO. “Dinkins is a highly experienced, respected executive who will lead Coca-Cola North America as it continues to evolve and grow.”

Dinkins has been with The Coca-Cola Company for 26 years, holding senior roles in the 7-Eleven global customer and national retail sales team.

Pharmaceutical giant Merck will lay off 1,800 sales representatives in the near future, but will create a “chronic care” sales team of almost 1,000 members to promote its top-selling drugs. According to The Wall Street Journal, Merck claims the move is a reorganization measure to reduce costs and shift focus to drugs showing more potential for growth.

Caesars Entertainment announced the hire of Chris Holdren as their new chief marketing officer, where he will focus on advancing the company’s Total Rewards loyalty network.

“Chris has broad marketing experience overseeing one of the best-known and most successful loyalty programs in the hospitality industry, as well as leading analytics, digital and partnerships,” said Mark Frissora, CEO of Caesars. “His experience will complement our efforts to further cement Caesars Entertainment’s marketing leadership in the gaming and hospitality space.”

Before joining the casino conglomerate, Holdren worked at Starwood Hotels & Resorts Worldwide and The Walt Disney Company, contributing to the loyalty programs of both brands.

Kevin Shelby has joined Orion Pictures as its senior vice president of marketing and distribution, shortly after the studio hired Kevin Wilson as executive vice president of distribution.

Prior to Orion, Shelby held the role of senior vice president of marketing at BH Tilt, overseeing planning and distribution of films such as The Green Inferno and Lowriders. Before BH Tilt, Shelby worked at New Line Cinema as senior vice president of theatrical marketing.

Jerry Storch, CEO of Hudson’s Bay Company, will be stepping down from his position on November 1, after activist investor Land & Buildings pressured the company into selling several of its properties. Taking over is Richard Baker, governor and former CEO of Hudson’s Bay, on an interim basis while the company searches for a permanent replacement.

“The Board and I are grateful for Jerry’s contributions over the past three years, including enhancing our all-channel strategies, recruiting key talent, leading our cost-cutting efforts and working to address the challenges for our banners in the fast-evolving retail environment,” said Baker.

Moonpig has hired Andre Rickerby as their latest CMO, shortly after a major rebranding campaign. Rickerby joins the company fro Etsy, where he served as its vice president of global marketing for four years.

(Editor’s Note: This post will be updated daily until Friday, October 27. Have a new hire tip? Let us know at editorial@alistdaily.com.)

Job Vacancies 

Director, Marketing Razer USA, Ltd. Irvine, CA
SVP & Chief Marketing Officer NBC Universal Universal City, CA
Director, Engagement & Retention Marketing Hulu Santa Monica, CA
Director, Global Content Marketing Indeed Austin, TX
VP of Marketing Intuit San Diego, CA
VP, Worldwide Marketing Partnerships Paramount Pictures Hollywood, CA

Make sure to check back for updates on our Jobs Page.

Don’t Say Velcro, Says Velcro In Power Ballad

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Cold open: slow zoom on a solemn man, backed by a group of darkness-shrouded figures and backlit by a pair of spotlights, staring into the camera behind a mic stand in a smoky room. “We’re a company that’s so successful, that everywhere you go,” he sings, “you see the scratchy, hairy fastener, and you say ‘hey, that’s velcro!'” It’s a simple cause that’s gathered these lawyers to put on a “We Are The World”-esque benefit performance: they say, “don’t say velcro.”

VELCRO® Brand’s legal team put out the rousing power ballad to clarify things about their product—it’s “VELCRO® Brand straps” if they make it, and “hook and loop fasteners” if anyone else does. Using “velcro” as an adjective or verb is similarly forbidden. 

They acknowledge the absurdity in the ad itself, but it addresses a very real fear for the company. In the second verse, they sing, “We know this seems ridiculous, this is a first-world situation . . . and we’re asking you not to say a name we’ve spent 60-plus years to build, but if you keep calling these ‘velcro shoes,’ our trademark will get killed!”

There’s solid precedent for brand names being genericized: “flip phone,” “aspirin” and “teleprompter” all used to be trademarked terms, but were legally declared generic and unenforceable due to becoming the common name for the product itself. Velcro’s music video pleas on behalf of other brands at risk of losing their identities, begging viewers not to say “Band-Aid,” “Clorox” or “Rollerblade,” either.

Velcro isn’t the first brand to get finicky about public use of their trademark—LEGO is notoriously picky about spelling (it’s “Lego bricks,” not “Legos”).

While brand safety has been on the minds of many marketers in recent months, having a brand to keep safe is a privilege that Velcro is trying desperately to protect. So remember this holiday season: don’t say velcro.

One In Four Americans Have Amazon Prime; Children Flocking To Mobile Media

BY

More than half of Amazon’s customers in the US subscribe to Prime, per an estimate by Consumer Intelligence Research Partners. There are a total of 90 million Prime subscribers, making up 63 percent of Amazon’s American userbase.

Satisfaction with the service is at an all-time high as well—95 percent of current Prime members claimed they would “definitely” or “probably” renew their memberships.

Screen usage among young children is soaring, according to a study by Common Sense Media. Children ages eight and younger spend 48 minutes a day on mobile devices, a 300 percent increase from 2013. Furthermore, 42 percent of the group now have their own tablets, compared to just 7 percent in 2013.

The overall level of media consumption by children has not changed significantly since 2011, but the means by which they access it has. Mobile now takes up 35 percent of total screen time, up from 4 percent six years ago.

This technology is hindering togetherness, according to a survey conducted by Comcast. Of the parents they polled, 98 percent stated that “disconnecting” from devices improved family bonding. Despite this consensus, 52 percent reported having been told by their children to put down their phones during dinner, and 42 percent responded that they could not remember their last device-free meal.

The more VR changes the advertising environment, the more it stays the same, research by YuMe indicates. In virtual environments, pre-roll video ads are still much more memorable than banner ads or product placement, despite the interactive nature of the medium.

Aided recall for pre-roll ads topped out at 86 percent, compared to just 50 and 25 percent for banners and product placement, respectively. The differences in unaided recall were much less dramatic, with pre-roll ads achieving 43 percent, only five points higher than banner ads’ 38 percent.

A study by OnAudience.com estimates that 26 percent of US internet users have installed an ad blocker, up from 22 percent last year. These missed ad views account for $15.8 billion in lost revenue this year in the US and $42 billion internationally.

With Google set to implement a built-in ad blocker in its Chrome browser in 2018, consumers bypassing digital advertising is set to become an even larger problem than it is already.

Games make up most of ARKit-powered app downloads, according to a report by SensorTower. Augmented reality games make up 53 percent of all ARKit-only app installs and represent a 62 percent share of revenue.

Furthermore, 35 percent of AR apps on the store were games, compared to just 19 percent for utilities, the second most popular category.

TV advertising spending is down by double-digit figures for Q3, according to analysis by MoffettNathanson Research. Due to broadcast network viewership dropping by 31 percent compared to Q3 last year, ad revenue dropped by 10 percent.

“The negative ad growth will mark the greatest decline over the past six years,” said Michael Nathanson, senior research analyst at MoffettNathanson Research. He adds: “We currently project a return to growth in the [fourth quarter], but given the current ratings trends, this could prove to be too optimistic.”

Additionally, Zenith has released its mobile advertising forecast for 2017, which predicts that mobile will account for 53 percent of all internet ad dollars this year. Zenith expects this trend to continue, setting the 2019 figure at 62 percent.

Mobile ad spending actually lags behind usage, according to Zenith’s report. Users will spend 73 percent of their time web browsing on mobile by 2018, compared to 65 percent in 2016.

Influencers are ditching Snapchat for Instagram in droves, according to research by Mediakix. Compared to February of this year, the 12 top social media influencers posted 33 percent fewer Snap stories and 14 percent more Instagram stories. As of August of 2017, top influencers posted to Instagram twice as often as they did to Snapchat.

Zero-UI devices such as smart speakers are driving a significant increase in smart-home product adoption, research by The NPD Group indicates. Among American households with an internet connection, home automation device ownership has jumped up 50 percent in the last year and a half, from 10 percent in April 2016 to 15 percent in October 2017.

More than a third of smart home device owners also own a smart speaker, and around half (57 percent of Google Home and 48 percent of Amazon Alexa users) claimed to buying a home automation device after purchasing a smart speaker.

Netflix has coined a new term to describe members of its core userbase: binge racers.  Defined as users who have watched an entire season of a show within 24 hours of its release, binge racers number 8.4 million, increasing 20-fold between 2013 and 2016.

According to a report by YouAppi, marketers are mistiming their holiday marketing pushes. More than half of consumers aren’t interested in holiday offers before Thanksgiving, yet 68 percent of marketers begin their campaigns much earlier.

(Editor’s Note: This post will be updated daily until Friday, October 20.)

Digital Video Marketing Spend Balloons To $135B In US

BY

Digital video marketing combines two of humanities favorite pastimes—the ancient art of storytelling and hanging out on digital devices. Mobile video production company Magisto released the first in a three-part report that examines how marketers use digital video marketing.

In Video’s Payday Part One, Magisto describes how the rules of engagement have changed from branding controlled by the marketer to a sense of belonging, as driven by a customer narrative.

“Since video combines the emotional impact of story with the efficacy of digital advertising, it is a perfect way for businesses to authentically engage with today’s consumers,” Oren Boiman, CEO of Magisto, said in a statement. “The enormous influence of social media and the bottom up culture of millennials have led to a new marketing condition where the consumer is in control, word-of-mouth is a medium unto itself and authenticity is paramount to engaging customers.

Magisto surveyed over 500 marketing decision makers in the US at businesses of various sizes from July to August 2017. Applying responses to the industry as a whole, the company found that on average, each American business will spend $20,000 on video marketing in 2017, for a total of $135 billion.

This figure includes the cost of video capturing, creation, hosting, distribution, analytics and staffing. To put that $135 billion in perspective, TV ad spending is predicted to reach $71.65 billion this year, according to eMarketer.

Brands are creating more videos, as well. Eighty-four percent of marketers said they intend to create more business videos in 2017. A majority (60 percent) of these marketers allocate more than a quarter of their budgets to video marketing, and 64 percent create their own videos in-house.

In a world where consumers are bombarded with ads and information on a daily basis, marketers are looking for ways to cut through the noise. To do this, authenticity and consistency are the name of the game. Fifty-six percent of businesses surveyed engage in video creation at least once a week, according to the study.

Reaching millennials is all the rage—and a necessity—but marketers between the ages of 30 and 45 (Gen X) are 250 percent more likely to be heads of marketing than any other age group. Gen X are 40 percent more likely to spend on video marketing, as well, compared to millennial marketers. Of both age groups, 77 percent of Gen X marketers allocate more than a quarter of their budgets to video.

Gen X creates more often than their millennial counterparts, as well, making daily content at 37 and 23 percent, respectively.

“Done correctly, video has the scale of television, the precision of digital marketing and the power of authentic story,” said Magisto. “Businesses are using video to distribute their messages in ways that contribute real value to the attention economy and, as a result, is becoming a fiscal economy unto itself. All told, video marketing, composed of all business video communication excluding Television, is already a $135 billion dollar industry in the United States and this is a story that is just getting started.”

Amazon Studios, Upload And Facebook Experience Executive Departures

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Roy Price, head of Amazon Studios, has resigned from his post less than a week after taking a leave of absence in response to allegations of sexual harassment. Albert Cheng will take over his position in the interim as the Netflix competitor seeks a permanent replacement.

Just last week, Amazon announced that it will not continue working on its partner projects with The Weinstein Company after similar accusations against Harvey Weinstein were reported by The New York Times.

Upload’s chief operating officer Anne Ahola Ward has departed the company just six weeks after signing on. Ward joined the VR start-up in August after it settled a sexual harassment and wrongful termination lawsuit this summer.

“Anne has done an incredible job helping us create new structure in the company, build out a top executive team and lay the foundational principles that will carry us forward into the next stage of our business,” read a statement by the company.

Regina Dugan, head of Facebook’s Building 8 hardware lab, will be departing the company early next year to create projects on her own. Before joining the social media giant 18 months ago, Dugan lead Google’s advanced technology and products team and prior to that served as the director of DARPA.

Storyful has promoted Ebonie Newman to chief revenue officer, taking over the company’s global sales divisions.

“Ebonie is a proven leader who built and grew the Storyful business in the Asia Pacific region,” said Storyful CEO Sharb Farjami. “She finds innovative ways to collaborate with partners and deliver solutions that build businesses and generate results.”

Newman joins the global leadership team after two years as executive director of sales in the Asia Pacific region.

Tara Kriese has joined Impossible Foods as its senior vice president of marketing, signing onto the company as it ramps up production in California.

“Tara is a marketing strategist who isn’t afraid to roll up her sleeves. She has a wide range of professional experiences, from launching guerilla campaigns to developing sophisticated go-to-market strategies—at both start-ups and major multinationals,” said David Lee, Impossible Foods’ chief operating officer.

Previously, Kriese worked at Thalmic Labs as chief marketing officer, which was named a 2017 Breakthrough Brand by Interbrand during her tenure.

Nissan has announced management changes in its North America division, promoting Christian Meunier to global division vice president of global marketing and sales operations for Infiniti, and Dan Mohnke to senior vice president of sales, marketing and operations for Nissan.

“During Christian’s tenure overseeing the Nissan brand in the US and Canada, our team has set records in volume and share, taking advantage of strong growth in our world-class truck, SUV and crossover lineup,” said David Muñoz, Nissan’s chief performance officer.

Additionally, Steve Lambert, vice president of information systems, will retire at the end of November after 25 years with the company.

Balmain has appointed Txampi Diz to the role of chief marketing officer, the company’s first. The hire marks a brand effort to restructure its senior management team and bring in outsider voices.

Diz joins the fashion brand after spending 15 years at KCD Paris.

Kristen Campolattaro has joined online fashion retailer Eloquii as their vice president of brand marketing and customer insights, a newly created position.

“As Eloquii continues to champion the plus-size fast-fashion market with its dedication to customer feedback and providing trend-driven options, Campolattaro’s global marketing expertise and profound comprehension of the wants and needs of the consumer will continue to accelerate the brand’s engagement and overall growth,” read a Eloquii press release. “Campolattaro will pull from her expansive knowledge and experience in brand building to bring a data-driven approach to a creative industry.”

Previously, Campolattaro served at Universal Kids & Sprout, a division of NBCUniversal, as vice president of brand strategy and consumer marketing.

NBCUniversal International Studio president Michael Edelstein announced his plans to leave the company after his contract is up at the end of 2017.

“As anyone who has worked in international knows, 1.5 million miles, hundreds of nights in hotel rooms and constantly changing time zones begins to lose its charm,” Edelstein stated in an internal memo. “With a great senior management team in place, it is now time for me to take a break and create some space to ponder the future.”

Edelstein had led NBCUniversal International since June 2010, producing shows such as Downton Abbey and winning 18 Emmy awards over the past seven years.

Carey Krug has joined David Yurman as the jeweler’s latest chief marketing officer.

“Carey possesses unrivaled experience in the luxury retail category, as well as a deep awareness of a growing brand’s needs on a global and regional level,” said David Yurman. “I am confident that her talents and vast understanding of the quickly evolving marketplace for luxury goods will be invaluable for our growth strategy for today and into the future.”

Krug previously worked at Polo Ralph Lauren as its senior vice president of global marketing, where she oversaw partnerships with the Olympics and the US Open.

Twentieth Century Fox Film has promoted Julie Rieger to chief data strategist and head of media, a newly created position. She will oversee the marketing group’s efforts to take advantage of consumer data to deliver new insights.

“Julie has been a visionary in building and implementing the studio’s robust moviegoer database,” said Stacey Snider, CEO of Twentieth Century Fox Film. “In doing so, she has not only separated us from our competition, but also bridged the gap between studios and consumers, empowering TCFF to truly become a consumer-centric business.”

Before the promotion, Rieger served as executive vice president of media and marketing planning. Prior to joining Fox Film in 2008, Rieger worked at Zenith, leading its West Coast operations.

Rural Media Group has named Alexander “Sandy” Brown as their chief operating officer.

“RMG’s operations in Nashville will also benefit daily with Sandy’s leadership, as will our efforts to now expand all our interests digitally on an international basis,” said Patrick Gottsch, president of Rural Media Group.

Previously, Brown worked at One World Sports as president and CEO, and prior to that was president of sports at Univision.

(Editor’s Note: This post will be updated daily until Friday, October 20. Have a new hire tip? Let us know at editorial@alistdaily.com.)

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