The 2018 Winter Olympics in PyeongChang were a marketing fail, says Organic's VP of client services.
What audiences say about a brand is more important than what the brand says about itself, says AHA's executive creative director.
Brands that don't look deep within to find their souls will make hollow progress, says TBWA\Chiat\Day LA's chief strategy officer.
Just like the athletes, whether or not marketers have what it takes will play out on the global stage, says Momentum Worldwide's president and CMO.
A host of new and well-financed players are moving in and complicating the picture for content producers, says Possible's Rebekah Smith.
Brands will have to decide what purpose they wish to serve, says Stylus' head of media & marketing.
Chris Uettwiller, executive producer and partner of Oscar-nominated production company Dirty Robber, discusses the importance of fluidity in creating compelling content.
Early signs indicate the broadcast networks are still the best venue to attract the most number of viewers.
BBH LA's senior brand strategist explains how to make a new show must-watch, even when dealing with audiences inundated by content.
Fake news is more than a new catch phrase. It's changing the way journalists are reporting stories today, says a new survey by Ogilvy Media Influence.
A former creative director and associate professor of advertising design shares strategies to shake off the doubt and land that first job.
There was a lot of positive broadcast news coming out of the pitches last week, but there were also many warning signs too.
With six new shows and more "Big Bang," the Eye net is poised for another "most-watched" season.
Instead of making short form films and buying likes, more brands should consider investing in sponsored entertainment that people will pay to watch, writes the producer of Werner Herzog's "Lo and Behold."
Spin-offs for "Dancing with the Stars" and "The Bachelor," plus a relocated "American Idol," lead an aggressive 2017-18 lineup.
Will new entries from proven sources compensate for the loss of the Super Bowl?
"Will and Grace" revival and a new "Law and Order" round out the upcoming blasts from the past.
Casting Melissa McCarthy as a sputtering, volcanic Sean Spicer? Good. Pairing (yawn) Ryan Seacrest with (yaaaawn!) Kelly Ripa? Not so good.
With the broadcast upfronts just two weeks away, it's time to help the harried TV executives fill out their schedules.
Because we all know podcasting just isn't big enough for Papa Bear.
The warm-weather airwaves are no longer the dead zone they once were, but success stories remain elusive.
Global's creative director says we're just at the start of an audio revolution and she has examples to prove it.
With ratings down on these 10 series, is there any real reason to renew?
By having executives share their own stories about TV's influence on their lives, the value of this medium is loud and clear.
Here's what you need to know heading into the upfront.
With upfront season upon us, just how are the broadcast nets really doing?
"I want to write about women's issues and I want women, and others, to feel like they have a champion in me," says showrunner Ryan Murphy.
An early sellout suggests renewed interest among advertisers, but the real draw may be the controversy.
Procedurals, military dramas, family sitcoms, and reboots, reboots, reboots!
Looking to reach this powerful demo during Super Bowl LI, marketers used everything from nostalgia to humor, writes AARP's VP of marketing, sales.
Is NBC doing what's best for its morning franchise, or just finding a place for its pricey new celebrity?
P&G's cry for more transparency has done the media industry a big service, writes the director and co-founder at MediaSense.
Final ratings tally should place Super Bowl LI among the most-watched of all time. Also: "24: Legacy" disappoints.
With more ambition, marketers could create work that wins the day and the hearts and minds of consumers around the globe, writes the chief creative officer of Droga5 London.
Opportunities exist for advertisers to approach big sporting events such as the Super Bowl without huge budgets and still achieve high impact results.
From sitcoms to dramas to whatever "Westworld" is, the boob tube really outdid itself this year.
Jenna Elfman, Katherine Heigl, puking time travelers and a talking dog.
More network misses than hits, the upcoming TV season offers a handful of hopeful debuts.
From twisted horror plots to lame comedies, the season wasn't short on its share of stinkers.
With the election behind us, the NFL can't continue to pretend Donald and Hillary were the only ones distracting from the game.
The Democratic presidential candidate needed every millennial vote she could get, yet her campaign overwhelmingly focused on TV, writes the founder of TYT Network.
These "sub-channels" have begun a slow move beyond low-cost content into original programming.
In the final inning of the political advertising season, campaigns should take a page out of Billy Beane's book, writes the director of sales at AOL Advertising
Can the Murdochs lure younger viewers to the network liberals love to hate?
Unilever's billion dollar swoop for Dollar Shave Club isn't just about bringing a successful brand into its stable -- it's a recognition that the CPG market may have changed for good.
Why risk-averse networks are increasingly relying on trial runs before committing to original programs
The 4-minute animated film is Ace Metrix's highest-rated QSR ad of all time, writes its VP of marketing
The heat is on, but the ratings are cool for scripted shows
Our week together losing and gaining perspective at Cannes Lions might be our most important work of the year, writes the chief creative officer and co-head of CAA Marketing
The CEO of Havas PR North America examines the paradoxes of patriotism in 2016
From "black-ish" to "Bates Motel," there were many standout performances this year worthy of recognition
Shared experiences can leverage the best the technology has to offer, writes the head of creative technology at Framestore
How can the network expand its HBO Now streaming service to compete with Netflix without damaging its cable platform?
Grey New York avoids the holiday shmaltz with a perfectly on-brand message
Next time, how about some data that actually tells us something?
The Rio Olympics won't be the only reason to stay inside this summer
Why the Internet and social media could make the new "Roots" more than just another cynical revival
The parties are over, but the head-scratching has just begun
Liquor brand scores high by taking research on Millennialls to hear, says Ace Metrix's VP of marketing
The convergence of music and branding has never been more relevant, writes Grey's director of music and president of Cannes' first Music Lions
CBS stands above the rest in primetime this fall; Fox remains in the cellar
Marketers have a whole new engagement challenge on their hands as sound becomes the new medium for consumer interaction, writes the worldwide director of the Innovation Group at J. Walter Thompson
Supergirl makes sense on the younger-skewing network. But will too many caped crusaders and mismatched romantic comedies take a toll?
Eye net will launch six new fall shows, including three sitcoms
Expanding to two hours of comedy on Tuesday gives the alphabet net an unprecedented 10 sitcoms
Both ads scored high, but one hit home with people shopping for cars, says Ace Metrix's VP of marketing
As the upfronts loom, a look back at what worked this season ... and what didn't.
What gives one moniker greater power than another?
The revival parade continues, but Tina Fey, Richard Dreyfuss, Dr. Phil and Queen Latifah bring some new ideas
Sacrificing Ripa's ratings to extend GMA makes about as much sense as cancelling "General Hospital" (oh, right)
Battery's CCO says it's time for the next wave of interruptive digital advertising ... and a return of the creatives who know how to make it compelling
But does a slogan even really matter anymore?
Why the reboot of "One Day at a Time" is a questionable comeback choice
Despite changing dynamics of modern families, advertising still largely holds mothers to unattainable standards of perfection, writes the managing director of Maxus Chicago
Talk of a revival is cresting just as the show says farewell. Maybe all we need is a (short) break from each other?
A well-orchestrated media blitz featuring on-brand, custom creative helped catapult the film about a little-known Marvel character to record-breaking success, writes the CEO of Atomized
"The Waltons' " Earl Hamner, Jr., and SAG's Ken Howard also died last week, and their contributions to TV should not be overlooked
But are long-running hits really the best ingredient for a broadcaster?
Where the broadcast networks need to improve as the buying season begins
The profession has long had its share of critics, but this political season is making it worse, writes the former agency executive and founder of HonestAds
Ad blockers show that consumers don't like shit ads. Brands that treat their customers with respect and build enticing experiences will retain them, writes DigitasLBI's CCO
There are some not-so-surprising similarities between Hollywood and Madison Avenue
How PBS is planning for a future that doesn't include the Crawley clan
The president of BAV Worldwide looks at the success of collaborations between sportswear and high fashion
The leading global market for luxury goods, the US represents a rich opportunity for high-end "Made in the USA" products, writes director of McCann Truth Central
Words of advice to new ABC President of Entertainment Channing Dungey
There is much to be gleaned from the primaries in free information, writes Siegel+Gale's research director
Why "Superstore," "Crazy Ex-Girlfriend" and "The Grinder" deserve a second season
Ogilvy & Mather's chief creative officer, North America considers how football's faithful protect their own
Mountain Dew, Snickers and Heinz were among the bravest advertisers on the game this year, says FCB's global chief creative officer
Audi's spot was everything a Super Bowl spot should be, writes TBWA\Chiat\Day New York's CEO
Everything felt a little more star-studded and self-deprecating this year, writes Droga5 group creative director
Want to save $5 million? There's a better (digital) way to grow your business, says Centric Digital's co-founder and president
Never mind awareness. The big game is the ultimate in consumer engagement, writes the co-founder of School
DDB Worldwide's former chairman and CCO says the game-within-the-game may have changed, but the win is the same
Go ahead, make fun of this year's Super Bowl ads. But take a moment to recognize the achievement involved in just getting them to air
The time slot after the big game gives networks ample opportunity to boost show viewership
The creator of Xerox's "Monks" spot says there's a big difference between creating an ad for the Super Bowl and for the client
The copywriter of Coca-Cola's 'Mean Joe Greene' says humanity still carries the day, whatever the creative platform
Publicis New York CCO Andy Bird recently moved to Gotham from London, and he's bloody well doing his best to appreciate our football
The big game is the party that happens out on the front lawn for everyone to see, says the co-chairman and partner of Goodby, Silverstein & Partners
Fox considers "Grandfathered" and "The Grinder" "long-term assets"? Really?
An older, tech-averse audience makes daytime TV remarkably stable. Should advertisers be grateful?
Karmarama's executive chairman says going public will empower the awards and its recipients
The CEO of Havas PR considers the mix of ego, sensationalism and business savvy that drove this tale to press
Getting a new show on the networks is an antiquated and expensive process. Let's cut the cord