Latest news with #CannesLions
Yahoo
a day ago
- Business
- Yahoo
Citi sees upside for Trade Desk into Q2 results, adds on a catalyst watch
-- Citi placed Trade Desk (NASDAQ:TTD) on a 90-day positive catalyst watch, citing signs of stronger ad spending and robust connected TV (CTV) trends ahead of the company's second-quarter earnings report. The brokerage said it came away 'incrementally more positive' on the outlook after meetings at the Cannes Lions advertising conference, suggesting that macro conditions have stabilized since Trade Desk issued Q2 guidance in early May. That improved backdrop, coupled with healthy CTV activity, may lead to results ahead of expectations, Citi said. The firm maintained a Buy rating and a $90 price target on the stock, noting Trade Desk's positioning as a leading independent demand-side platform. While it acknowledged investor concerns over competition from Amazon's DSP, Citi said Trade Desk remains differentiated and the broader programmatic ad market is large enough to support multiple players. Shares trade at roughly 26 times estimated 2026 EBITDA, according to Citi. A beat in Q2 could drive a re-rating back above 30 times, it said. Citi values the stock based on a blend of discounted cash flow, EV/revenue and EV/EBITDA multiples, noting the company's strong topline growth, consistent take rates, and margin profile amid a secular shift of ad dollars from linear TV to CTV. Related articles Citi sees upside for Trade Desk into Q2 results, adds on a catalyst watch Design platform Figma files for U.S. IPO CD&R joins race for BP's $8 billion Castrol unit, Sky News reports Sign in to access your portfolio
Yahoo
a day ago
- Entertainment
- Yahoo
James Blake Brings ‘Sinners' Song to Cannes Lions
As players from the media and marketing worlds gathered in the south of France for the 2025 Cannes Lions conference, brands jockeying for visibility can be found up and down the Croissette where hosted 'beaches' draw both networkers and revelers. Offshore, however, are the ultra-exclusive events — among them, The Hollywood Reporter's Wednesday afternoon Marketing Power Players event. Held on the gargantuan Kismet yacht, owned by the Khan family, whose sports assets include the NFL's Jacksonville Jaguars, English Premier league club Fulham F.C. and All Elite Wrestling, the guest list included Activist Artists Management co-founder Bernie Cahill and Activate founder and CEO Michael J. Wolf, who co-hosted the event; Marcie Allen, president of Anzie Blue; Rare Beauty CMO Katie Welch; YouTube co-head creators and gaming Kim Larson; Dhar Mann Studios CEO Sean Atkins; The Macallan head of brand Sergio Cabello; and THR top marketers 2025 list members Bianca Franklin, global business developer, music at H&M, and Universal Music Group executive vp, global brand partnerships Kerri Mackar. More from The Hollywood Reporter Bonnaroo Music and Arts Festival Change Plan for Full Refunds, Not Announcing Future Dates Yet U.K. Unveils $100 Million "Screen Growth Package" for Film and TV, $200 Million Creative Places Fund King Charles and Idris Elba Team Up on Netflix Doc About Charity That "Changed" Actor's Life Other guests included Group Black CEO Bonin Bough, Official AI founder and CEO David Siegfried, GK Ventures CEO Greg Kahn, All& co-CEO Jennifer Breithaupt and TikTok entertainment partnerships head Jenny Kim. Grammy-winning singer and songwriter James Blake performed two songs, including his latest, 'Séance,' from the soundtrack to Ryan Coogler's Sinners, which he co-wrote with two-time Oscar-winning composer Ludwig Göransson, who scored the movie and was also at Cannes Lions, serving as a featured speaker at Spotify's beachside headquarters. 'I leaned into the metaphysical love relationship between the two main characters, not the vampires,' said Blake, who also attended Cannes Lions as an official speaker, of the song, which was written before he saw the movie. 'It was actually quite spooky when I saw it, I could understand how it felt so pertinent to what I was writing about it.' Blake shared the spotlight with singer Monica Martin for one of her tunes, the wistful 'Go Easy, Kid.' Their harmonies, coupled with Blake's accompaniment, elicited enthusiastic applause from the intimate audience. Blake's partner, the actress Jameela Jamil, was also in attendance. Ahead of production on a new Ron Howard movie, she was promoting her podcast, Wrong Turns. Blake, meanwhile, has a new album coming out in October. But as much as the people were impressive — Tony Khan serves as founder, CEO, general manager and head of creative of AEW, the third-most valuable combat sports league in the world (behind UFC and WWE) — all eyes were on the details of this massive marvel at sea which was meticulously designed by Shad Khan, owner of the Jaguars, Fulham F.C., AEW and Flex-N-Gate. The eight-story super-yacht features a pool, an underwater theater, a helipad, multiple bars and dining areas, and designer furnishings in each of its well-apportioned guest suites. The father-son team was aglow in the success of AEW, which recently inked an extension with Warner Bros. Discovery that will keep its popular Wednesday Night Dynamite and Saturday Night Collision on TBS and TNT, respectively. 'Over six years, as things have evolved and entertainment has changed, we've been a staple of cable and continue to be a huge staple of TBS, which is a channel that's had wrestling in its lineup since the 1970s,' said Tony Khan. The numbers whiz name-checked CEO David Zaslav and CFO Gunnar Wiedenfels, along with WBD chief revenue and strategy officer Bruce Campbell, for being 'key supporters.' And while AEW's partnership with WBD has seen as many leadership changes in the six years they've collaborated, Khan added, 'We've come out stronger and stronger under the leadership of Warner Bros. Discovery. And now to be on such a prestigious platform as Max, that's a huge expansion for AEW to reach a new audience or even reconnect with fans that maybe cut the cord and didn't have access to TBS and TNT anymore.' Internationally, AEW has also become destination viewing on ITV, another network with a tradition of wrestling. 'We've been able to build that great linear audience and become the most-watched TV company of all wrestling with the biggest attendance,' said Khan. 'By most of the key metrics, AEW is the no. 1 wrestling company in the U.K.' No doubt the Khans are moving in super-exclusive circles. Aboard the Kismet the evening before were several major players in entertainment and beyond, including agency and Olympics 2028 head Casey Wasserman, Fox Corp. CEO Rob Wade, and former NBA stars Dirk Nowitzki and Blake Griffin. With AEW currently valued at $2 billion, it looks as if the son is following in the steps of his self-made father and at the same time expanding the empire. The younger Khan was heading to Mexico for AEW's first event in the country, which took place June 18, and he's also pushing his roster's brand extension to TV and film. Pro wrestler MJF, for instance, will appear in Happy Gilmore 2, the sequel to a movie he saw in the theater as a kid. 'Wrestling is the only 52 weeks-a-year sport,' adds Khan. 'It's a never-ending tour of all different cities and places. It's cool. I never stop.' Best of The Hollywood Reporter How the Warner Brothers Got Their Film Business Started Meet the World Builders: Hollywood's Top Physical Production Executives of 2023 Men in Blazers, Hollywood's Favorite Soccer Podcast, Aims for a Global Empire
Campaign ME
a day ago
- Business
- Campaign ME
Why smart CMOs are quietly outsourcing entire functions
There's a quiet transformation reshaping global marketing departments – and it's changing the game for good. As highlighted at the 'CMOs in the Spotlight – Creativity, Longevity and Business Impact' panel at Cannes Lions Creativity Festival 2025, modern CMOs are evolving beyond traditional roles. They're becoming business architects who expertly balance creativity, commercial rigor, and strategic collaboration. In an era where agility, ROI, and strategic thinking are everything, many Chief Marketing Officers are dismantling legacy marketing structures and outsourcing entire functions to specialist strategic partners. The results are clear: Leaner teams Better ROI More time to actually think And some of the world's best-performing brands are reaping the rewards. CMOs in the spotlight -shift from in-house to impact Recent data from Gartner's CMO Spend and Strategy Survey 2024 shows nearly 60 per cent of CMOs are increasing reliance on external agencies or partners for core marketing functions such as content production, brand strategy, and performance marketing. This shift is not tactical–it's deeply strategic. The new marketing model enables brands to stay lean, agile, and relentlessly focused on long-term growth instead of short-term deliverables. As Forrester's 2024 Marketing Predictions put it: 'The future marketing team will look more like a control tower and less like an assembly line.' During the Cannes Lions panel, industry leaders underscored how the best CMOs are moving from operational managers to ecosystem architects. By partnering strategically, they create nimble marketing organizations capable of adapting to rapid market changes while staying true to brand purpose. What are CMOs outsourcing? Brand Strategy: External strategists bring objectivity, trend foresight, and cross-industry intelligence. External strategists bring objectivity, trend foresight, and cross-industry intelligence. Creative Development: Great ideas can come from anywhere–decentralized global creative hubs tap into diverse talent pools beyond internal teams. Great ideas can come from anywhere–decentralized global creative hubs tap into diverse talent pools beyond internal teams. Content Production: Demand for speed and scale is met by studios that produce, iterate, and localize content rapidly. Demand for speed and scale is met by studios that produce, iterate, and localize content rapidly. Marketing Operations & Automation: With increasingly complex MarTech stacks, external experts maximize ROI and reduce operational drag. Who's Doing It Well? Coca-Cola Coca-Cola operates a networked marketing model involving over 200 partners globally working within a unified brand strategy. This approach powered campaigns like Real Magic, reducing internal complexity while unlocking creativity. Nestlé Nestlé consolidated its marketing into regional hubs and outsourced functions such as content production and media planning. This model accelerated content delivery across 180+ markets and improved efficiency, allowing internal teams to focus on brand purpose, sustainability storytelling, and product innovation. Airbnb Instead of scaling a large internal team, Airbnb partners with expert brand studios and local creators. Their 2023 Made Possible by Hosts campaign combined authenticity with agility, delivering powerful storytelling without bloating headcount. Why this works Leaner Teams, Stronger Focus By outsourcing strategic functions, CMOs free internal teams from daily executional fire drills and focus on big-picture challenges–customer experience, innovation, and market expansion. Better ROI Flexible cost models replace fixed overheads, paying for impact rather than headcount. According to McKinsey, companies that outsource strategically can save 15–25 per cent in costs and boost marketing effectiveness by up to 40 per cent. Time to Think In today's environment, attention is currency–not just for consumers, but for leaders. Delegating operational tasks gives CMOs time to reimagine their brands, lead digital transformation, and craft meaningful customer journeys. What this means for the future of marketing At GVGL, we witness this transformation daily. As strategic partners to global brands across Europe, Africa, Asia, and the Middle East, we don't just execute campaigns–we help drive business transformation. Our collaborations with clients like Bayer, Heineken, Novo Nordisk, and Unilever demonstrate that the future belongs to brands that think boldly, collaborate deeply, and operate lean. The old model of siloed teams and internal execution is giving way to one that's smarter, faster, and more human. And the best CMOs? They're not afraid to let go – because they understand real control comes from clarity, not micromanagement. In a world where marketing leaders must deliver more with less, those embracing external strategic partners are leading the way. This is not outsourcing for mere efficiency–it's partnering for excellence. If your marketing feels stretched, reactive, or weighed down by execution, maybe it's time to ask: What could your brand achieve if your team had more time to lead–and less pressure to produce? By GVGL Marketing Management CEO, Ebru Tuygun
Campaign ME
2 days ago
- Business
- Campaign ME
Tuesday appoints Mangesh Zemse as Creative Director
Tuesday Communications has announced the appointment of Mangesh Zemse as Creative Director, as the agency continues to strengthen its creative leadership and expand its regional capabilities. Zemse brings more than 15 years of experience working across a wide range of sectors including fashion, FMCG, healthcare and film. Throughout his career, he has led integrated campaigns and design projects for both global and regional brands, with a focus on combining strategic thinking with strong visual storytelling. His work has been recognised at major industry awards including Cannes Lions, Dubai Lynx, The One Show, Clio, London International Awards and the Loeries. In addition to his creative portfolio, Zemse has also served as a jury member at the AME Awards and the New York Festivals Global Awards. Commenting on the appointment, Alok Gadkar, Co-Founder, CEO and Chief Creative Officer at Tuesday Communications, said: 'Mangesh is a wiz with ideas. We like how he taps behaviour and research and delivers it through stunning visual craft. It's a thrill to have him in the mix. We look forward to producing great work together.' Zemse will work across a number of key client engagements, contributing to the agency's roster of clients. Earlier this year, in February, Tuesday also was awarded the creative mandate for Union Coop to develop content and communication strategies that align with the brand's positioning, adding to the agency's portfolio.
Forbes
2 days ago
- Entertainment
- Forbes
Cannes 2025: That's A Wrap! 9 Top Industry Voices Report
The Cannes Lions International Festival of Creativity: Spectacular setting for the ad industry to ... More set the future and celebrate great work Herein, a fuller report than most, with insights and takeaways from the Cannes International Festival of Creativity 2025, all in one place, gathered from the industry's top agency creatives, marketers, ad tech trail blazers and other leaders on answers to my questions on what they heard, saw, learned and want more of. Read on for learnings on AI, creativity, platforms, what's happening with the holding companies, CTV, ad tech, what surprised people the most and much more:Susan Credle Global Creative Advisor, InterPublic Former Global Chair & CCO of FCB The good news: Tech, data, platforms and AI language finally took a backseat to a consistent declaration: creativity is the human additive that will give real economic value to our rapidly commoditizing businesses. The bad news: No one was asking the harder question — Why aren't creative businesses and people valued economically? And more importantly, how does that business model change, ASAP? ________________________________________ The yachts anchored next to the Palais des Festivals were dialed down this year. They seemed less like floating parties and more like quiet respites from the chaos of the beach — that sand in front of the Mediterranean you can hardly see anymore. While the perception of yachts remains indulgent, the reality is they remind me of what the piers in front of the hotels used to be: intimate spaces for quiet, important conversations that build relationships lasting long after the festival breaks down and Cannes returns to a lovely seaside town in the South of France. ________________________________________ What still irks me is how many people tied to the creative side of this industry skip the Palais each night — we miss the celebration of the work that should make this festival matter. Worse, we plan parties and dinners during the show. If we, the stewards of creativity, don't value the original purpose of Cannes, why would anyone else? Next year, let's set a better example: Go to the shows. See the work. Celebrate it. It's why we're here. Or it should be. ________________________________________ The Carlton took the Carlton to the next level this year — at times, it felt like the first vestibule of Dante's Inferno. And the quiet Majestic I once retreated to now feels like the old Carlton. (I hear the Mondrian was less of a Charlie Foxtrot, but I'll let someone else confirm that.) ________________________________________ My favorite moments were the small gatherings with clients discussing the work that was winning at Cannes. Be it a tour of the work in the basement of the Palais or small gatherings with a focused conversation leading to vulnerable Q&A moments. Did we agree? Disagree? Were our apertures widened about what creativity can do — solving business problems, creating opportunities, building brands? Would we rethink our partnerships? Were we inspired? Were we in this together? The body language leaning forward seemed to say, Law Creative Chairperson Accenture Song What I saw in Cannes I can't remember a Cannes being so divided into three worlds - the tech platforms, the agencies and the brands. The platforms were bubbling with optimism as they demonstrated more concrete creative applications of genAI. The agencies felt lost, unable to articulate a coherent model for a future that is arriving too fast. And the brands seemed to be watching and waiting with a detached curiosity. What I heard most often 'AI needs humans.' A handwavy statement that is true, but achingly unspecific. The details of what we make, who makes it and how we make it, are still fuzzy. (Incidentally, I tried to answer these questions in my presentation on stage at the Palais on the afternoon of June 19.) What surprised me the most The mindboggling progress of the AI video generators. The creative control and production values of engines like Veo 3 leave no doubt that soon almost every video will be made without a camera. Next Cannes we'll have a much better idea of how this changes what we see in our feeds, what our jobs look like and how our businesses will Shing, Best Known as 'Shingy' Digital Prophet & Storyteller What I heard the most: AI, of course. But not in the way it will change creativity—more like how it might replace it. That's the wrong question. The right one? How can AI unbox us from decades of dusty workflows, overproduced sameness, and rinse-repeat formats? I argued for something different: let's not use new tools to recreate the same old cage. Let's use them to break it. Let's use AI to breathe—because creativity needs oxygen, not automation. What I saw the most White linen. Influencers in pastel. Ad tech throwing parties that don't mention tech. But amidst the haze, the work that stood out whispered instead of screamed. A train ticket that doubles as a lottery ticket. A KitKat replacing a phone in your hand. Vaseline verifying the unfiltered. Subtitles designed with intention, not as an afterthought. Each one a heartbeat. Each one solving something real. What I learned That sometimes, the best work hides in plain sight. Not on stage, but in the quiet genius of the Titanium shortlist. Not in the panels about 'authentic audiences,' but in the pavement art that made me pause mid-scroll. The future isn't more noise. It's better signal. What surprised me the most That we're still talking about 'authenticity' like it's a trend, not a truth. That we invite creators to panels but don't always treat them like co-conspirators in invention. That no one seems to notice—we've already entered a post-interface era. The best brand experiences won't be seen. They'll be felt. What I want to see more of next year: Less orchestration. More improvisation. Less 'innovation theater.' More soulful utility. Less 'build it for culture.' More 'build it from culture.' And maybe—just maybe—someone brave enough to show up with nothing to sell but something to Cooper CMO GumGum What I heard most often in Cannes Two themes kept popping up: consumer attention and emotional connection. There's this growing need to not just get eyeballs but to mean something to the people consuming the content. Marketers are trying to bridge performance with real emotional resonance. It's no longer just about reach, it's about impact. What I saw most often This one is easy - content! You couldn't walk a block without running into a panel, a recording, a creator with a camera crew or some branded moment happening in the background. And not just fluff—there was actually a lot of thoughtful stuff happening. But with so much going on, the real challenge was figuring out where to be and when. What I learned CTV standardization stood out. While industry demand is growing, a lack of standards is slowing adoption. That's something we as an industry must address as the potential of the channel grows. What surprised me the most Of course, the beach was full of activations as usual, but there seemed to be many more restaurant and store takeovers this year by both brands and tech companies. What I want to see more of next year There was lots of talk about AI moving beyond simply streamlining workflows to usage in publishing technology and creatives. I'd like to see more concrete use cases and case studies of how this is working in practice next red carpet at the Palais des Festivals where every creative wants to hold a Lion Antonia Faulkner Head of Corporate Communications & Ads Marketing, Analytics and Insights EMEA Samsung Ads What I heard most often AI was certainly a hot topic and it is exciting to see its capabilities in making ad tech more effective in terms of optimization and targeting. There was a lot of talk about its role in creativity, but I don't think AI can replace it. Authentic stories are created by people, not AI. What I saw most often It was great to see more creators present, redefining what content—and more specifically TV content—is. Chef and creator Ian Fujimoto joined a panel we hosted which described how CTV and streaming platforms are reshaping the traditional 'television show,' bringing a new world of creative and commercial opportunity. Streaming platforms such as Netflix and Disney also had a larger presence this year, and so it's great to see TV in all its shapes and forms taking center stage. What I learned TV is having a real renaissance, and this is a great time to be working in this space. There is so much buzz about the possibilities around TV. What surprised me the most As per what I said above, just the sheer number of creators this year was a driving force—instead of just attending, creators were actively involved in keynotes, collaborations and shaping the event's agenda. The festival's introduction of creator and start-up passes a few years back has clearly led to a shift in the event's dynamics, with this group now playing a more central role. What I want to see more of next year More creativity in TV advertising. I want to see brands getting more experimental and truly harnessing all the capabilities that come with Guglielmo President Chemistry Cannes was, as one might predict, a crescendo of 2025 trend-chasing, hitting the high notes with extra color, more candor and much better views. It reinforced what I know, but even more so, it set me to brace for what I don't know. My favorite truth of the week (outside of Jeff Goodby's mic-dropping that fear and jealousy are essential in this biz) was that when it comes to AI, we're all in danger of looking the wrong way. Everyone's talking about how to use AI to market. But no one's ready for when we have to market to AI I went to Cannes expecting to learn-and-burn (southern girls don't sweat, they glisten), but I didn't expect the airport. The AIRPORT. The great equalizer where all of us marketing-obsessed masters of corporate sports are stripped of our accolades and VIP positions and find ourselves in the exact same boat. A lovely metaphor for marketing as a whole this year, actually, at least in part. We come to Cannes to network, and some of the best networking happens while you're waiting, and waiting, and waiting in line with peers and role models who, in between airline announcements, put their brands down and commiserate with glorious adland war stories—wild pitches, creative miracles, marriage proposals, accidental espionage and every charmingly self-effacing tale in between. Cannes is about the work. But it's also about the people behind the work. The cultures behind the cultures. The best conversations, insights and connections don't always happen at the Palais or in planned meetings, they happen at gate Hornaday CEO BarkleyOKRP What I heard the most AI was the headliner—again—but this year the conversation matured. It wasn't just 'look what it can do,' it was 'look how we should be using it.' Clients now expect agencies to be fluent in AI across workflow, data and content creation. The best creative teams are figuring out how to use these tools not just for efficiency, but for personalization and real brand-building. Craft, taste and great ideas matter more than ever, especially now that it's incredibly easy to flood the world with mediocre content. What I saw the most The festival is increasingly leaning into trade show style noise, with multimillion-dollar stages, beach houses and over-the-top activations everywhere. Yet for many of us, the most valuable conversations happened in smaller, private forums, intimate gatherings and meetings with clients, peers and press. It'll be interesting to see if this sparks a shift toward more thoughtful, focused experiences at Cannes. I think we'd all welcome that. What I learned Integrating creativity and media is still a giant opportunity. The best work—the kind that wins at Cannes—doesn't separate the two. The real task ahead is in smashing those silos: media, strategy, data and creative working as one from the jump. What surprised me the most The growing skepticism around the holding company model. Aside from Publicis, the energy around the big networks Between leadership uncertainty, structural shake-ups and looming mergers, there's real vulnerability there, and that might mean big talent (and clients) shifts in the future. What I want to see more of next year More work that connects marketing to business outcomes. This old line, 'I'm wasting half my budget, I just don't know which half,' was repeated a lot last week. CMOs are more willing than ever to experiment, but they're hungry for results, not just vibes. The future belongs to those who can measure creative impact and make it repeatable. Le Vieux Port where yachts berth for parties, content and networking Natalie Silverstein Chief Innovation Officer, Collectively The Brandtech Group What I saw I've seen creators start to play a bigger and bigger role at Cannes over the past several years, and it definitely felt like they've finally been fully embraced across the festival. Walking up and down the Croisette, I ran into so many creators we work with. Marketers across the spectrum were talking about seeing big creators as important multiplatform media partners. I personally had a lot of conversations about what's ahead at the intersection of generative AI and the creator economy. From digital twins, synthetic creators and 0 to 1 video in social feeds to deeper measurement through LLMs and personalization of creator media at scale, there's no doubt that we'll see a ton of innovation in the year ahead. What I heard Gen AI isn't going to negate the need for human creativity. Instead, we're going to see totally new skillsets and novel applications of foundational storytelling experience Irgang President/Founder Red Shoes Marketing Former SVP Marketing at Kraft Foods and GoDaddy What I heard A lot of healthy discussion about the human element and the need for it given AI. So, while we all run to test, learn and activate with every form of AI, the outcry was to elevate the human element or 'human-ness' that is required to drive the nuance and empathy that AI often misses. This is an encouraging sign. Let's let AI do the grunt work, the data sorting and analysis, and let's let the humans bring pure creativity and new thinking to the table. It could be a best of both worlds if we manage this right. What I saw The Festival has gotten very commercial and while that's good for the Lions' business, it takes some of the objectivity and authenticity away from the experience. It has become too much of a world of have and have-nots, access and no access, VIPs and just regular Joes. Somehow, that doesn't feel right for an industry that wants to open its messages to the world and drive growth. Cannes Lions seems to be embracing growth for the biggest spenders or biggest brand titles. What I learned People are what makes his industry great. Meeting old friends and finding new ones is what got me excited all week. Every conversation was a new stimulation to another POV, perspective and idea. Our differences and openness to connect is what makes being in this business wonderful. That's a spirit that will never die. What surprised me the most Despite a chaotic global economy, brand spending reductions and a cautious outlook on growth, the spending and cash was flowing, flowing, flowing. The activations on the beach were outrageous (in a good way) and must have cost a fortune. The dinners, yachts and free-flowing extravagance seemed somewhat out of sync with current business conditions. What I want to see more of next year Less content, but longer richer discussions. Too many 15- and 30-minute panels that took two hours to get into and not enough time to really get deep on topics. This is an industry that thrives on curiosity and creativity, and I would love to see more time to dive deep and explore.
